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Boxina- ^^^^ .^^'np5, 




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BY 

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Bo]^ing,^lub3wingii 

AND 

MANL^Y &PO¥LT&. 

By 

GEO. H. BENEDICT, 

Champion Club-Swixgkr and IJoxkr, and Manager of the 
Chicago Olymi'U- Clih. 



CAVING VVIA. INTSniUCriON'S IN IllI-: AIMS OF 

BO^CINe. FENCING. Wl^ESl^IiING, CMB ?;WIN«ING, 
mm mUh MD GYMNTI^'PIO E^EI^OI^ES, ' 
/vT f^WIMMING, TOMBI^ING, EW. 



CONTAINING OVER 250 ILLUSTRATIONS, 

Showing How Every Onk Can Devei.oi" Strength, Skill and Health. 



Entered accordinef to Act of Congress, in the year 1S83 by Geo. H. BhnedicTjI 
the oflicc of the Librarian of Congress at Washington, D. C, 



A. G. SPALDING & BROS., ^ 

PUBLISHERS, y "^ ^ ' 

241 Broadway, New York. loS Madison Street, Cflt^AGO. 



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We take great pleasure in herewith presenting the first complete 
treatise on Boxing, Wrestling, Club Swinging, Dumb Bell and 
Gymnastic Exercises, Swimming, Etc. ever combined in one 
volume. 

Mr. Geo. H. Benedict, whose services we have been fortunate 
enough to secure, is a person especially qualified, as an author and 
artist, to attempt a work of this kind. 

One who would teach must first have learned; that Mr. Benedict 
has thoroughly mastered the arts, the principles of which are herein 
scientifically explained and illustrated, can best bo understood by 
comprehending the simplicity and practical common sense of his sys- 
tem of practice. 

In sparring, Mr. Benedict has contested with the best boxers of 
the country, and has long been acknowledged to be the best amateur 
boxer in the West, winning the championship, in open competition, 
at the Central Music Hall, Chicago, Illinois, Feb. i6, iSSi. 

He also won the championship at club-swinging, in an actual test 
of merit, in a public prize contest, with competent men as judges, 
publicly appointed, over the best candidate s from all parts of the 
country (including the former champion of the United States.) 

The author has endeavored in this volume to present a complete 
exposition of the knowledge of these arts, in a condensed form, rely, 
ingmore upon the number, character, and natural style of the engrav- 
ings, and simplicity of language, than to A-erbosity of explanation or 
self-adulation, boasting, or the recital of victorious encounters. 

Its simplicity and originality is its charm. 

We have copyrighted the volume, and will supply the trade at a 
regular discount. Copies mailed post-paid on receipt of price. Paper 
cover, 25 cts. Board cover, 50. Address, 

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GEO. H. BENEDICT. 




yUST ISSUED, 

SPALDING'S 

L OF ROLLER SKIING 



PROFUSELY ILLUSTRATED. 



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GEO. H. BENEDICT and A. F. SMITH. 



THE MOST COMPLETE INSTRUCTION BOOK OF ROLLER SKATING EVER 
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OVER FIFTY ILLUSTRATIONS, 

SHOWING INSTANTLY THE COKKECT MANNER IN WrilCH TO KXECUTE ALL MOVE- 
MENTS. ALSO, A LlSr OE OVEK IWO IILNDKKD MOVEMENTS, AR- 
RANGEIJ HV MR. A. F. SMITH, THE SKATO.XIAI, KING, FOR 
THE SPECIAL USE OF SKILLED SKATERS. FULL 
DESCRIPTIONS OK THE GAME A.ND RULES OF 

POLO ON ROLLER SKATES, 

Also, tlie Cons ituti( n and By-Laws of the Western Polo League, a book that 

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(^CnCGHCS.^- 



Introduction 7 

P^XERCisii; AND IIkalth 8 

BOXING. 

Seventy-Six Illustrations 9 to 38 

The Arm 9 

The Feet 10 

The Head 10 

The Body ...10 

Getting in Time 11 

Getting in Distance ii 

Feinting _.ii 

The Blows 11 

Shaking Hands 12 

Position on Guard 13 

P^ACE Blows 13 

Body Blows 15 

Counters 16 

Ducks ...18 

Upper-Cuts 29 

Chancery Holds 30 

In-Fighting 30 

Wrestling 36 

Table of Opposition 36 

How to Practice 38 

How TO Set-to ..39 

CLUB SWINGING. 

Forty Illustrations 40 to 74 

Single Movements 40 

Principles of Club-Swinging ..41 

Double Movements 60 

Exercises. 71 



DUMB-BELL EXERCISES. 

Nine Illustrations 75 to 78 

FENCING. 

Twenty-one Illustrations 78 to 96 

Remarks. ...78 

Positions _ 79 

The Attack 81 

The Defence 81 

The Maneuvers 85 1095 

Practice Exercise _ 95 

Rules for Beginners 96 

GYMNASTIC EXERCISES. 

:flFTY.SEVEN ILLUSTRATIONS 97 tO I05 

Horizontal Bar _ 97 

Parallel Bars. 100 

Flying Rings loi 

Vaulting Rinc;s _ 103 

Flying Trapeze 104 

TUMBLING. 
Fourteen Illustrations 106 to 108 

SWIMMING. 
Thirteen Illustrations 108 to no 

ATHLETIC SPORTS. 

Sprinting no 

Quarter-Mile Race iii 

Mile Race in 

Hurdle Race 112 

Jumping n2 

Pole J um ping n^ 

Throwing the Hammer 114 

Putting the Shot 114 

Throwing the Base Ball 115 

Tossing the Caber 115 

Hare and Hounds 115 

Walking 117 

Dress _ ..117 

What to Attempt _ .118 



INTRODUCTION. 
• ■<»» • 

In presenting this little volume to the public, the object of the 
author is, to convoy a practical knowledge of those exercises which 
are most beneficial and popular; selecting only such as require inex- 
pensive apparatus and w liicli can be used in an ordinary room or yard. 

It will be found also, that they are such as combine, to a consider- 
able extent, exhilaration of the mind, with invigoration of the bodj'. 

Being well aware of the difficulty of teaching anything of the kind 
on paper, the author has aimed to give acompreiiensive and reliable 
manual of the advanced science of these exercises, with a simplicity 
of language, and common sense system of practice which will be 
readily understood; relying more on the number, style and character 
of the engravings than verbosity, self-adulation or the recital of vic- 
torious encounters. 

A great desire exists among those interested in physical culture, to 
acquire a correct knowledge of these beneficial exercises, and we hope 
that this record of personal experience, may add something to the gen- 
eral information on the subject. It may perhaps be the means of sav- 
ing beginners, trom the difficulties which beset our own course when 
entering upon the practice. 

7 



8 

EXEKCISE. 

We do not fear contradiction, in assertini: that manly sports, mirth, 
pastimes, and active exercise, are tlie physical laws of nature; and that 
without due regard to them, man caunot attain the perfection of his 
nature. The union of health, strength and beauty in tlie human form 
is considered the greatest of all blessings, and these can only bo ob- 
tained by a judicious exercise of all the powers of the mind aud body, 
acting in harmony. In fact, exercise within proper liuiits inii)roves 
and develops the muscular system, regulates the f unctious of the or- 
ganism and refines the senses ; giving increased strength, improved di- 
gestion, steady nerves, and cheerfulness. It will give grace to the car- 
riage and increase the powers of endurance. Exercise is as necessary 
to good health, as food or air, and we believe that without the stimulus 
of exhilarating exercise, perfect bodily health is as impossible as mor- 
al or mental vigor. 

HEALTH. 

Persons in health are apt to think of illness as something disagree- 
able, l)ut about which they need not trouble themselves, nutil it troub- 
les them. Having full confidence in the doctor and his prescription, 
future disease has no terrors. Health can be i)reserved by exercise 
alone. Drugs are not wholly useless, but excepting in cases of conta- 
gious diseases, it is better to direct our efforts against the cause, rather 
than the effect. In a work of this kind it is only possible to but briefly 
notice certain essentials to the care of health. 

DIET. Late hours and late meals should be avoided. Simple 
food, without spices or stimulants, should be regularly taken, and in 
moderate (piantities. 

PURE AIR. Health requires that we breath the same air once 
only. Thorough ventilation of the house and place of business, and 
especially the sleeping rooms, should be attended to. 

CLOTHING. An equal temperature of the body should be main- 
tained by exercise, or clothing which should be adapted to the sea- 
son of the year and include proper under-clothing. The feet should 
always be protected by warm stockings and shoes. 

THE BATH. The body should be kept perfectly clean. A soap 
and water bath should be taken at least once a week. This is a valu- 
able adjunct to health, as it prevents the accumulation of impurities 
discharged through the pores of the skin. 

The elementary principles of health are, pure air, perfect cleanli- 
ness, well-cooked food, and plenty of sun-light. 



BOXING. 



There is no exercise that will so surely cultivate aetivitj% endur- 
ance and strength, as boxing. Besides being an excellent school for 
the nerves and temper, it also develops the body, gives symmetry to 
the parts, and grace to the movements. 

- Boxing lias been called brutal ; tliose who hold that view 
look only at the worst aspect of the means ; being an expert boxer does 
not tempt one to bully or fight, any more than being an expert pen- 
man would tempt a person to commit forgery. Our experience has 
been, that the best boxers are generally men of great forbearance un- 
der provocation, and we are satislied that the knowledge of boxing, 
renders men not quarrelsome, but forbearing; for they feel that it is 
"glorious to possess a giant's strength, but cowardly to use it like a 
giant." It is in many respects the best of all exercises ; every muscle 
in the body is used; head, arms, legs and feet are all called into play ; 
your tools are always with you; and we may say that this is the only 
exercise recpiiring rapidity and strength combined. 

In entering upon the iiractice of the "Art of Self Defense'' the pu- 
pil will be benelited by reading carefully the following suggestions. 

Secure the services of an active, even-tempered, companionable 
opponent, as near your own height and weight as possible, and provide 
a set of good boxing gloves. In regard to the latter, the wiiite gloves 
used by professionals are best, as they are not apt to scratch the face 
or blacken the eyes, which the cheap buck-skin almost invariably do iu 
iieavy sparring. 

When si)arring always keep the arms in the proper position ; never 
drop your hands until out of distance. 

THE ARM. Tiie movements of the arms should be light and free 
when not hitting, even then the muscles sluHild not be compressed un- 
less the blow reaches its mark. Cultivate quickness ; endeavor to make 
the hand reach the object aimed at in the straightest possible line 
and without any intermission of time between the thought and the 
blow. Use the weight of the body as much as possible, in preference 
to the strength of the arms. Always get your blow to its mark 
even if you receive a counter in return ; it will teach you to hit quicker 
and guard better next time. Never flip or slap. Always hit with the 
back of the gloves, keeping the hand half closed. 

Do not hit below the belt; it is foul. 




10 BOXING. 

THE FEET. Without proper use of the feet no person can become 
an expert boxer ; for wlien two persons of equal science are sparring, 
it becomes more a matter of generalship, tlian science. Their feet 
and legs are used more than their hands, they feint, rush in, strike 
and get away, each one endeavoring to out maneuver his opponent 

The position of the feet should 
be as shown in Fig. 1. The lefV 
foot should be flat on the ground 
Fig.l. and pointed in a direct line with 

your adversary; the right heel must be in a line witli and behind the 
left heel ; the toe of the right foot should be turned slightly out. The 
distance between the feet sliould be from 12 to 15 inches according to 
the height. 

Both knees should be slightly bent, and the right heel raised so 
that the weight of the body will rest on the ball of the foot. 
To advance, move the left foot forward about ten inches, 
follow with the right at the same distance. 

To retreat, step back the same distance with the right foot and fol- 
low with the left The space between the feet should at all times be 
as nearly as possible as shown in the engraving. 

To avoid a rush, move the left foot about twelve inches to the right 
and follow with the right, or move the right foot the same distance to 
the left, and follow witli the left, keeping the feet about fifteen inches 
apart, and facing your adversary. By this arrangement of 
steps, the right foot is always behind the left leaving you in 
position, either for attack or defense. 

In sparring, move cautiously around your adversary. Keep the 
left hand and foot in advance, and after delivering a blow, work to the 
right, to get out of reach of his right hand. 

THE HEAD. In sparring, the position of the head is very im- 
portant; it should beheld in such a manner, that it may be rapidly 
thrown to either side to avoid a blow. 

The chin should be inclined slightly, the face turned to the right, 
so that both eyes will not be on a line with your opponent's left hand 

Keep the eyes open, and the mouth and teeth firmly closed. 
Never bite the lips or put the tongue between the teeth. 

Look your antagonist directly in the eye, and endeavor to avoid 
showing by the expression of the eye and face, when you intend to hit. 

A most essential feature in sparring, is a well governed "head- 
work," otherwise known as ducking. It is an excellent method of 
avoiding a blow, though it is generally used for the purpose of conn 
tering. They are, the duck to the left to counter with the left hand, 



BOXING. 11 

and the duck to the right to counter witli the right hand. In both cas- 
es the duck is the same, whether countering for the face or body. 
There are also the ducks to the left or right wlien leading off 
with the left liand. Never duck without hitting; it is dangerous. 
Always duck away from your opponent, do not raise your head until 
out of distance. 

THE 1>()1)Y. Little can Ik- said in regard to the position of the 
body, that has not been already noticed in connection with its other 
members. It is necessary however to make as much as ]>ossible of the 
weight of the body in hitting. The blow that is simply delivered by 
the muscular action has much less force than when backed by the full 
weight of the body. In sparring tJie body should move slightly with 
the arms. Throw the right shoulder well back and slightly sink it, 
leaving the left one a trille the higher. The whole body should be 
turned a (juarter from your adversary, in order that the stomach and 
ribs may be less exposed. 

Avoid if possible, close work with an opponent of superior weight. 

When opi>osed to an opponent taller than yourself, tight at his body, 
using the ducks as herein shown. 

GETTI>s G IN TIME. When your adversary approaches too near, 
draw back your right hand and advance the left about half way. 
When he retires, withdraw the left and resume position with the right. 
When sparring this movement will enable you to get your opponent's 
time, and allow you to lead or counter, without the intention being 
readily discovered. This movement must be slight and done in an 
easy manner ; over-done it is useless and awkward. 

GETTING IN DISTANCE. When your adversary moves toward 
you, if he is not well covered, step in suddenly and hit him, retreating 
as soon as the blow is delivered. Endeavor at all times to lead olf as 
your opponent moves forward, as otherwise it will be easy for him to 
guard the quickest blow. 

FEINTING. This is done by pretending to strike at one place 
and hitting at another; and in other cases to draw any particular blow 
for which you are prepared to counter. Feint by drawing the right 
hand back and advancing the left foot, or making a quick movement 
as if to strike with the left hand at tin; head, and hitting with the right ; 
or, feint with the left hand for the face and duck and hit for the body 
with either hand. A feint may also be executed by a glance of the eye, 
at the waist or feet ami hit at the face, or by a sudden start forward 
as if to strike, stopping and following with a genuine blow. 

The blows used by modern boxers are as follows: 

The left-hand blow at the face. The left-hand blow at the body. 

The right-hand blow at the face. The right-hand blow at the body. 



12 BOXING, 

These can be varied with either haiidl>y: The chopping or down- 
ward bh)w, the swinging or roundabout blow, tlie upper cut or 
lifting blow. These last are generally considered as unscieniitie and 
are, with the exception of the upper cut, rarely used by exp3rts. 

Particular attention should be given to the correct manner of 
closing and holding the hand, which in all cases shoald be, as 
shown in Fig, 1. 

SHAKING HANDS. 
It is customary before and after a bout, to shake hands as a 
token of friendship, it is a good custom and should always be done. 
After the ceremony, step back and assume the position on guard 
before again getting within distance of your opponent, see Fig. 2. 
POSITION ON GUARD. 
Stand in the position shown in Fig. 3 and 4, the feet from twelve 
to fifteen inches apart, according to height, the right heel on a line 
with the left, the toes turned slightly out. 

The rigid arm should be across the bottom of the ribs, the finger 
knuckles touching the left breast. The left hand should extend on 
a line with your elbow and your opponent's face and wlien not in 
motion should rest easily against the side. 

THE LEFT-HAND LEAD OFF AT THE FACE. 
The left-hand blow at the face is the most common one used in 
sparring and attention should be given to attaining proficiency in it. 

In leading, make a sliort step in with the left foot, straighten the arm 
and strike directly at the centre of your opponent's face, bending for- 
ward slightly from the waist. Throw the shoulders forward and if 
the blow reach^es its mark back it up with the whole weight of the body. 
Do not chop or swing the arm. 

In the engraving, see Fig. 5 the dotted figure illustrates the attitude 
on guard, the other figure shows the position the instant the blow is 
delivered, the two together show the change from one position to the 
Qther, the distance necessary to step in and illustrates the great reach 
which can be obtained by throwing the shoulders forward ; also the pos- 
ition of the right hand to guard a counter if it should be given. The 
movement of both hands and feet should be together and instantaneous. 
RIGHT HAND GUARD FOR THE FACE Fig. 6. 
When you see the blow coming throw the forearm up and outward, 
turning the palm of the hand out, so that the force of the blow will be 
received on the fleshy part of the arm, lean a trifle backwards. Keep 
the elbow down, and extend the arm only far enough to turn the blow 
from the face. 



13 



Left hand at the face, 




Lett hand at llic bod 



FIG. I. 
How TO Hold The Hand. 



FIG. 2. 
Shaking Hands. 




FIG. 3. 
Position on Guard. 



FIG. 4. 
Attitude on-Guard. 



BOXING. 




FIG. 5. 

Left-Haxd Lead-Off at the Face, 

AND Change in Position. 




FIG. 6. 
Right-Hard Guard for 
THE Face. 




FIG. 8. 

FIG. 7. Left-hand Lead-off for the Face 

Right-Hand Guard and Duck, and Right-hand Guard for it. 



BOXING. 



15 




FIG. 9. 
Left-hand Lead-off with 
Guard for a Counter. 



FIG. 10. 

Both Lead-off without 

Guarding. 




FIG. II. 
Change in Position for the 
Left-hand Lead-off and 
Right-hand Guard. 



FIG. 12. 
Left-hand Lead-off for the 
Body. 



^^ BOXIXG. 

lb 

DUCK AND GUARD FOR THE FACE. 

Raise the right arm to a level Mith the centre of the face, bend the 
head forward and to the left, thus enabling you to see your opponent 
under your arm. The forearm should cross the face and be thrown 
forward to turn the blow. 

Fig. 8 Left-hand lead-ojff at the face without guarding. 

Fig. 9 Left-hand lead-olf at the face with guard. 

Fig 10. Both lead-off with the left hand at the face without guarding 

Fig. 11 The change of position from on guard, to lead-off at the 
face with the left-hand and the right-hand guard for the face. 

THE LEFT-HAND LEAD OFF FOR THE BODY Fig. 12. 
This blow should be aimed at the pit of the stomach. It can best be 
done by feinting with the right hand to induce your opponent to tlirow 
up his left hand, thus exposing the stomach. Duck to the right when 
leading off and step in twice the distance of an ordinary step. Be care- 
ful to spring back before raising the head. 

RIGHT-HAND GUARD FOR THE BODY Fig. 13 and 14. 

Turn the palm of the hand down and beat the blow off with the 
forearm. 

This blow can also be stopped by hitting your opponent in the face 
before he can get his liead down ; though to do so it will be necessary 
to foresee his intentions. Keep the right-hand across the stomach 
when attempting this manoeuver. 

RIGHT-HAND STOP FOR THE LEFT-HAND BODY BLOW. 
Fig. 15. 
• Place the left arm directly over the pit of the stomach making a V 
of the arm, with the hand inclined towards the chin. The muscles 
must be well set and the arm pressed firmly against the body. Move 
the right foot back to enable you to resist the force of tlie blow. 
This blow can also be guarded with the right arm in the same manner ; 
when the arm is not extended. 

LEFT-HAND COUNTER Fig. 16. 
Guard the blow of your opponent with your right arm as directed 
for the left hand lead off. Lean forward and slightly to the left to 
counter. The movement of both arms must be simultaneous. 
LEFT-HAND COUNTER AND GUARD Fig. 17. 
Guard the counter the same as your opponent does your lead-otf. 
The dotted and outline figures Fig. 18 show the necessary change 
in position, to guard and counter. 



17 





Right-hand Glard for the ^ FIG. 13. 

li^juY, Right-hand Guard for the body. 




FIG. 15. 
Right and Left-hand Guards for the Left-hand Lead-off for 

the Body. 



18 BOXING. 

GUARD AND LEFT-HAND COUNTER FOR THE BODY. 
Fig. 19. 

The counter for the body is executed in the same manner as the one 
for the face, except that in hitting it is necessary to stoop and step 
forward. 

DUCK AND LEFT-HAND COUNTER FOR THE FACE. Fig. 20. 
As your opponent leads off at your face, tlirow the head to the riglit 
and forward, allowing the blow to pass over the left shoulder; step in 
sti'iking for tlie face. 

To guard the left-hand blow at the face when your opponent ducks 
to the left, use the right-hand guard as directed for all blows of the left 
hand, or as shown in the engraving Fig. 21 duck to the right as your 
opponent has done. 

The figures. Fig. 22 here shown illustrate the change in positions. 
DUCK AND LEFT-HAND COUNTER FOR THE BODY. 
Fig. 23. 
The counter for the body is struck the same as for the head, except 
that tiie blow is aimed at the pit of the stomacli. 

To guard it use the right-hand guard for the body ; or, avoid it by 
springing back. 

Fig. 21 shows the change in position. 

RIGHT-HAND COUNTER INSIDE THE ARM. Fig. 25. 
Guard your adversary's lead-off with your right arm; then with- 
out returning your arm to its first position, step in and hit with the 
right hand at the face, the blow i)assing along the inside of your oppo- 
nent's arm ; making a liit difficult to guard. To avoid this blow spring 
back out of distance, or guard it with the right arm. This blow though 
not severe is useful when opposed to an opponent who attempts to 
crowd you back. 

LEFT-HAND GUARD AND RIGHT-HAND COUNTER. 
Fig. 20. 

Guard your opponent's left hand with your left, thus turning him 
partly to the left and exposing his left side to your right-hand counter, 
which should be delivered by stooping f<n-ward and striking (tlose 
under the ai m. In guarding, raise the arm somewhat higher than 
ordinarily. 

This is a very telling blow when well executed, and very useful 
to oppose an opponent who runs to the left when sparring. 

To guard or avoid the blow, press against your opponent's guard 
and spring back. 



BOXING 



19 




FIG. 17. 
Left-hand Lead-off, Right-hand 
Guard, Left-hand Counter 
AND Guard for it. 



FIG. 16. 
Left-hand Counter to a Left- 
hand Lead-off at the face. 




FIG. 18. 
Change in Position for a Left- 
hand Counter at the Face. 



FIG. 19. 
Left-hand Counter at the 
^ Body. 



20 



BOXING 




FIG. 21. ^ FIG. 20. 

Both Lead-off with the Left Duck and Left-hand Counter 
Hand at the Face and Duck. at the Face. 




FIG. 22. FIG. 23. 

Change in Position to Duck Duck and Left-hand Counter, 
AND Counter for the Face, fqr the Body. 



BOXING. 



21 




FIG. 24. 

Change in Position to Duck 

AND Counter with the Left 

HAND AT the BoDY. 



FIG. 25. 
Right-hand Inside-Counter 
FOR the face 




FIG. 26. 
Left-hand Guard and Right- 
hand Counter to a Left-hand 
Lead-off at the Face. 



FIG. 27. 
Right-hand Lead-off at the 
Face. 



22 BOXING. 

RIGHT-HAND LEAD OFF FOR THE FACE Fig. 27. 
This lead off-can only be successfnlly nsed when yonr opponent 
holds his left hand too low when on guard. Step in with the left foot, 
duck to the left, striking for the fac(^ with the right hand and throwing 
the right side and siioulder forward. 

To avoid a right-hand lead-off, duck to the left the same as your 
opponent does when leading oft. 

LEFT-HAND GUARD FOR THE FACE. Fig. 29 and 30. 
Raise the arm, turn the palm to the front and move the right foot 
back. 

RIGHT-HAND COUNTER FOR THE FACE. Fig. 31. 
Guard the lead-off of your opponent with your left hand, and coun- 
ter with the right hand at the face. Strike straight and throw the 
shoulder forward. 

DUCK AND RIGHT-HAND COUNTER. Fig. 32. 
Duck to the left and counter with the right hand at the face. 
Fig 33. Change in position for a right-hand lead-off and left- 
hand guard for the face. 

Fig. 34. Guard for a double lead-off with the left hand at face and 
body. Spring back at the same time. 

RIGHT-HAND LEAD-OFF AT THE BODY. Fig. 35 and 36. 
Duck to the left, stoop forward and aim the blow at the heart. 
This blow is seldom used except as a counter, hereafter explained . 

LEFT-HAND GUARD FOR THE BODY. Fig. 37 and 38. 
Turn the palm of the hand out and throw the blow off to tlie left, 
keeping the arm close to the body and at the same time springing back. 

GUARD FOR RIGHT-IL\ND BODY BLOW Fig. 39 and 40. 

Hold the left arm firmly again the side, spring back. 

Fig. 41. Change in position in leading off witli the right-hand at 
the body. 

RIGHT-HAND COUNTER FOR THE FACE Fig. 42. 

Guard the lead-off at the body with yonr left hand and counter for 
the face with the right, as before described. 

RIGHT-HAND CROSS-COUNTER Fig 43. 
As your opponent leads off at your face with his left liand, bend 
the body forward from the waist, duck slightly to the left, swing the 
right side forward and strike over your opponent's arm hitting him on 



BOXING. 




FIG. 28. 
Both Lead-off with the Right 

HAND AT THE FaCE, AND DuCK. 



FIG. 30. 

LtFT-HAND Guard for a Right 
HAND Lead-off at the Face. 





FIG. 29 FIG. 31. 

Left-hand Guard for a Left-hand Guard and Right-hand 

Right-hand Lead-off Counter to a Right-hand Lead- 

AT the Face. off at the P^ace. 



24 



BOXING. 




FIG. 32. 
Duck axd Right-hand Counter Pjq 

TO A Right-hand Lead-off Change in Position for a Right- 



AT THE Face. 




hand I.ead-off at THE Face, 

and the Left-hand 

Guard for it. 




FIG. 34. 
Guard for a Double Lead-off of FIG 35. 

Left hand at the Face and the Right-hand Lead-off at the 
Right hand at the Body. Body. 



25 




FIG. 39. 

Left-hand Guard FOR a Ru;nT- 
HAND Lead-off at the Body. 



FIG. y.. 

Rl(;ilT-lI.VXD LtAD-OFF AT THE 

Body. 




FTG. 37, 38. FIG. 40. 

Left-haxd Guard for a Right- Left-hand Guard for a Right- 
hand Lead-off at the Body. hand Lead-off at the Body. 



26 BOXING. 

the side of the head. 

The movement of the right arm should not be too quick, as it en- 
ables your opponent to anticipate your intention. 

In hitting, bend the arm slightly and turn both feet to the left; 
this is the most effectual blow ih sparring, and should be followed with 
a blow from the left at tlie face. 

Fig. 44. The change in position necessary to cross-counter with 
the right hand. 

DUCK FOR A CROSS-COUXTER. Fig. 45. 

If by your opponent's movements you can tell tliat he intends to 
cross your lead, step in, strike out and duck the head forward so that 
the ear will touch the inside of the arm ; tin; blow will tiien pass over 
the head. 

TO GUARD A CROSS-COUNTER. 
Partially withdraw the left hand and turn the elbow up, if done in 
time this will effectually guard it, and leave a splendid oi)ening for a 
right-hand counter. 

TO STOP A CROSS-COUNTER. Fig. 4i;. 
Change the direction of the lead-off aiul hit your opi)onent on the 
chest near the shoulder or on the side of the liead ; or anticipating your 
adversary's intention, duck, and hit him in the body with either hand. 

LEFT-HAND CROSS-COUNTER. Fig. 47. 

Feint with the left hand to draw your opponent's cross-counter, 
throw the head back allowing the blow to pass by your face, then 
spring in hitting at his face over the arm. 

This is very useful and is well worth practicing. 

Practicular attention should be given to the feint of the left hand 
necessary to this manoeuver. Straighten the arm as if to hit, at the 
same time advancing the left foot, then withdraw the foot and iiit at 
the face ; this when repeated occasionally will be apt to draw the cross- 
counter of your opponent. 

DUCK AND RIGHT-HAXD COUNTER FOR THE BODY. 

Fig. 48. 
This blow Is delivered the same as the right-hand cross-counter 
and should be struck at the ribs. 

It is very difficult to guard this blow as the left arm is out when 
the counter is delivered; it can only be done by dropping the arm and 
beating the blow down, at the same time springing back, thus reducing 
the force of the blow, if struck. 



BOXING. 



27 




FIG. 41. ^ 

Change in Position for a Right- ^ >> 4-'- 

HAND LeAD-OFK AT THE BoDV L^FT-HAND GUARD AND RlGHT- 

HANI) Counter to a Right-hand 
Lead-off at the Body. 



AT THE Body 
and THE Guard for it. 




FIG. 43. 
Right-hand Cross-Counter. 



FIG. 44. 
Change in Position for a Right- 
hand Cross-Counter. 



28 



BOXING. 




FIG 45 

Duck for a Right-hand 
Cross-Counter. 



FIG. 40 

Stop for a Right-hand 

Cross-Counter. 




FIG. 47. 
Left-hand Cross-Counter. 



FIG. 48. 
Duck and Right-hand Coun- 
ter FOR THE Body. 



BOXING. 



29 




FIG. 49. 

Change in Position for a Rkhit- 

hand-counter for the body 



FIG. 50. 
Left-hand Ui'Per-Cuv. 




FIG. 52. 
Stop for a Left-hand Upper- 
Cut. 



FIG. 51. 
Duck and Counter for a Lei 

HAND UpPER-CuT. 



30 BOXING. 

Fig. 49. Change in position for a right-hand counter for the bodj 
LEF-THAXD UPPER-CUT. Fig. 50. 

When your opponent h^ads otf with his left hand and ducks hi 
head forward, strike upwards witii the left hand at his face. Tlii 
blow is really a counter and the force of the blow conies from the bodj 

DUCK AND COUXTEPt FOR A LEFT-HAND UPPER CUT. 
Fig. 51. 
Du<;k to the right and strike for the body with the left hand. 
Feint a lead-off with the head dowu, to draw the upper cut. 

RIGHT-HAND UPPER CUT. Fig. 52 
This blow is similar to the left-hand upper-cut and delivered fo 

the same reason. Duck tlie head slightly to the left when hittiug. 
Fig. 47 To stop a left-hand upper-cut throw the head back auc 

strike at your adversary's face with the left hand. 

DUCK AND COUNTER FOR AN UPPER-CUT. Fig. 54. 

Duck to the left aud strike for the body with the right hand. 

GETTING THE HEAD IN CHANCERY. Fig. 55. 
When sparring always endeavor when at close quarters to get you 
opponent in this position. It is doue oy grasping your oppou. 
around the nock after having led off an I passed over his shoulder 
hold him firmly with the left arm and punish him with the right. 

Fig. 56. To get the head out of this position, press your left fore 
arm against your opponent's chin throwing iiiin backward, at th 
same time ducking the head and springing back. 

Fig.57 and 58. Another chancery liold and the break for it. 

Fig. 59 and GO. When your opponent leads at your face aud duck 
to the left, catch him around the neck witli your left arm, draw hi; 
head down and use your right hand on his left ribs. To get awa; 
from this hold, draw back the left hand and press your opponent bael' 
by pushing his head with the left and the body with the right Jiand, 

RALLYING OR IN^-FIGHTING, Fig. CA. 

Consists in getting your arms inside your opponent's and deliv 
ering several blows in rapid succession. 

Having the feet close together lean forward, lower the head, keej 
your eyes on your opponent, use both hands and swing the shoulder; 
forward with each blow. 

In in-fighting the arm should not be drawn back, the force of th( 
blow being given by the movement of the shoulders. 



BOXING. 




FIG. 54. 
Stop for Right-hand Upper 
Cut. 



FIG. 55. 
Getting the head in Chan- 
cery. 





FIG. 56. 
Getting the Head out of 
Chancery, 



FIG. 57. 
Another Chancery Hold, 



32 



bT^xing. 





FIG. 58. 
Break for the Second Chan- 
CERY Hold. 



FIG. 59. 
Chancery Hold No. Three. 




FIG. 60. 

Break for Chancery Hold No. 

Three. 



FIG. 61. 
Inn-Fighting. 



BOXING. 




FIG. 62. 
BREAKING Ground or Re- 
treating. 



FIG. 63, 64. 
Arm Defence eor all Blows. 




FIG. 65. 

Slipping or Taking Ground to 

THE Side. 



FIG. 66. 
Side-step to the Right. 



34 BOXING. 

HETREATING. Fig. (52. 
When leading off at your opponent, your right foot shouid be 
slightly raised. If necessary to retreat, step bacK with the right foot 
and wlien it receives the weight of the body spring backwards, alight- 
ing with the left foot on the spot formerly occupied by the right; if 
necesiiary, take another step in the same maiwier. 

ARM DEFENCE. 
Fig. 63 and (54 The guaiKls and stops for all blows are- A. A. 
right-hand guard for the face. B. B. left-hand guard for the t>ce. C 
left-hand guard for left-hand body blow. D. right-hand guard for 
the body. E. and F. left-hand guard for the body. 

SLIPPING. Fig. (>5. 

The maneuver nere represented is very useful in avoiding a rush, 
or getting away when against a stationary object. 

Duck to the right and step out with the left foot at right angles to 
the former positioji. Face your opponent by turning to the left and 
moving the right foot behind you. 

SIDE-STEP, Fig. G6. 
When your opponent leads heavily for your face, duck to the right 
spring back with the left foot and forward with the right; thuschang- 
iug your position ; placeing your right foot in advance of the left, then 
if there be an opening strike for your opponent's face with the right- 
hand and follow with a left-hand upper-cut. 

RIGHT-HAND BOXING. 

Fig. 07, To spar with an opponent who advances his right foot 

and arm. Be careful in leading off with the left hand. Lead oft' witli 

the right and duck to the left- 
Fig. 68 Guard the lead-off with the left hand and work to the left 

to avoid his left hand. 

Fig. 69, Duck and counter at the face or body. Strike the same 

as for a right-hand cross-counter or a right-hand counter for the body. 

and avoid close work. 

BACK-HEEL. 

When using the duck and counter, as shown in Fig. 20, place your 
left foot outside and to the rear of your opponent's left heel, pushing 
him backwards and over your foot. 



BOXING. 



35 




FIG. 67. FIG. 68. 

Right Foot and Arm Advanced Left-hand Guard for a Right- 
in Sparring. hand Boxer. 




FIG. 69. FIG. 70. 

Duck and Right-hand Counter Back-fall in Wrestling, 
for a Right-hand Boxer, 



WKESTLING. 

Wrestling as accessory to boxing, is a very important brancliof the 
science, and one wJiich may be put to good use at any time. 

BACK FALL AND BREAK FOR IT. Fig. 70 and 71. 

Rush in, throw your left arm well around your opponent's waist, 
place your left leg behind his right leg and press j-our right arm under 
his chin. Pull with your left, and push witli your right hand, and 
throw him if possible, it not, break away before tiring yourself. 

SIDE FALL. Fig. 72. 
When sparring at close quarters catch your opponent around the 
waist with your right arm at the same time passing your right leg be- 
hind him ; grasp his right arm with your left, lift him up and let him 
fall backwards to the ground. 

BACK niP-FALL. Fig. 73. 
When your opponent leads off with his left hand, duck to the right, 
rush in, throw the left arm tightly around his waist, ])lace the left leg 
well behind him, raise him on your hip, catch him under the chin 
with your right hand and drop him to the ground. 

CROSS BUTTOCKS. Fig.-74 and 75. 

Throw your right arm around y(nir opponent's neck, swing around, 
place your right leg in front of him, if possible catch his right arm 
with your left, then jerk him across your hip and throw him to the 
ground. 

To break the cross-buttock. Put your left arm over your opponent's 
shoulder and press against the right side of his face. With the right 
hand grasp his right leg at the knee and by pushing with both hands 
turn him around to the left. 

We have now described all the hits, stops, guards, chancery and 
falls, in boxing. The following table comprises all the blows, counters 
and guards, arranged to show plainly the i)roper guard or counter to 
oppose any blow, also the i)roper guard or counter to oppose the return 
of the person attacked. 
Opposed to the LEFT-HAND BLOW AT THE FACE are: 

1. Right-hand guard. In turn opposed by 

2. Right-hand guard and left-hand counter for the face. 1. 2. 4. 8. 9. 

3. Right-hand guard and left-hand counter for the body, 2. 10. 

4. Left-hand guard and right-hand counter for the body, see Fig. 20. 

5. Duck and left-hand counter for the face, see 20. 

6. Duck and left-hand counter for the body. 10. see 24. 



BOXING. 




FIG. 71. 
Break for a 13ack-falu 



FIG. 72. 
Side-fall. 




FIG. 73- 

BAtK 1 1 IP- FALL. 



FIG. 74. 

Left-hand Cross-counter and 

Stop for a Right-hand 

Upper-cut. 



38 BOXIXG. 

7. Right-hand counter for the face inside the arm. see 25. 

s. Kiuht-hand cross-counter. 15. 18. see Figs. 45. 46. 

!). Duck and right-hand counter for the body. 19. 20. see Fig. 48. 

Opposed to tlie LEFT-HAND BLOW AT THE BODY, are; 
10. Left-hand guard, 
n. llight-liand guard. 

12. Right-hand guard and left-hand counter for the face, same as No. 2 

13. Left-liand upper cut. see Fig. 51. 

14. Right-liand upper cut. see Fig. 53. 

Opposed t(. tlie RIGHT-HAXD BLOW AT THE FACE, are; 

15. Left-liaiulguanL 

1<>. Left-hand guard aiul riglit-hand counter for face. 15. 

17. Duck aiuI riglit-hand counter for face. 15. 

18. Left-liand cross-counter. 

Opposed to the RIGHT-HAND BLOW AT THE BODY, are; 

li). Left-liand guard. 

20. Left-hand upper-cut. see Fig. 51. 

The numbers after each opposing blow show the guard or counter 
that should be in turn used to ojjpose the one delivered. 

To combine theory with practice, it will be necessary for the pupils 
to practice both the offensive and d^^feusive of all blows. 

Tiike the nu)vements in the order given, skip none and practice 
each one thoroughly before attempting another, and master them all 
before having a genuine set-to. 

The best method of practicing the different blows and guards, is as 
follows. Practice each blow slowly at lirst and increase the si)eed 
gradually until the blows are made smartly and in as rapid succession 
as ])ossible, but not omitting to return to the position, on guard, after 
each blow. In this manntr, alternately going through all the guards 
and counters opposed to each blow in order described. Continue in 
this manner until you have mastered the theory of each movement. 

The double lead off and combination blows are struck thus. Lead 
off for the face with the left hand, step in and strike again with the left 
either at the face or body, or follow the left-hand blow with one deliv- 
ered from the right hand at the face or body. A third blow can be 
struck with either hand in the same manner. 

To make a good set-to it will be necessary for the pupil to pay 
particular attention to the following maneuvers; they consist of feints 
to draw out any particular blow and stops or counters to oppose them 
when delivered. 



BOXIXG. 



iFeint witli your left hand, to draw a left-Iiand counter. Guard tlio 
counter and counter it with your left hand, see Fig. 17. 

Strike with the left hand and let the blow fall slinrt ; your face will 
tlien be exposed to a left-hand counter, which you can cross-counter 
or duck and counter for the body with your right hand, see Fig. 43. 48. 
Feint with your left hand to draw a cross-counter.throw the head 
back allowing tho blow to pass by your face, then spring in and strike 
over the arm for the face, see Fig. 47. 

Strike short with the left hand, to draw a cross-counler. Change 
the blow to a guard, by turning the elbow up, and counter with the 
right hand, see Fig. 31, 

iri a set-to never do the same thing twice in succession; do not be 
too impetuous; try to out-general your opponent; work out as many 
points as possible, science is superior to strength in this respect, if you 
drop your science and rush in, strength will surely win. Never lose 
your temper, rcnuMubcr that cool courage is superior to hot headedness ; 
never degenerate into a rough, unmeaning, unscientitic scramble. Be 
manly and seek no undue advantage. 

If, in atteuipting any particlar maneuver you do not at first suc- 
ceed, wait until you have another and more favorable opportunity and 
try it again. 

Spar with any one who invites you to do so. The more your su- 
perior he is, tlu' belter. Be afraid of no one until you have tried him. 
If he abuses you, it will then be time to stop. 





FIG. 75- 
Cross-buttock. 



FIG. 76. 
Break for the Cross-buttock. 



40 



CLUB SWINGING. 



Man is so constituted that every organ, mental or physical, requires 
to be exercised ; without it the functions of the body set out of order 
and disease takes tlie place of health. The Indian Club exercise has 
an important inilucnce on the physical developnicjit, it squares the 
shoulders and streniL^tl'.eiis the chest, back and arms ; it is the gymnastic 
specific for pulmonary complaints; and the best possible exercise for 
the hectic and narrow chested i)ortion of tlu; community, it imparts a 
perfect command over the balance of the body, besides creating graceful 
movements and easy manners. They are particularly useful to count- 
er-act the tendency of sedentary life. 

It is usually considered that all movements are distinct and 
have no relation to other movements, thus complicating what should 
be a simple matter. 

There are in the art of club-swinging, but THREE distinct 
movements. The Straight Arm, The Bent Aru), and the Wrist move- 
ments, all combinations of movements are made by varying these by 
holding the arm in dilferent positions while the club is made to des- 
cribe the circles. 
There are NINE of these positions, viz. 

WRIST CIRCLES. 

1. Arm extended vertically, making a wrist circle. 

2. Arm extended horizontally, making a wrist circle. 

3. Arm down, making wrist circle in front. 

4. Arm down, making wrist circle at the back. 

BENT ARM CIRCLES. 

5. Back of the shoulder. 
(). Front of the shoulder, 

7. Over the opposite shoulder. 

8. Front of the opposite shoulder. 

9. Under the opposite arm. 

• These circles are governed by a simple principle; see Fig. 15, 
which, when understood will render club swinging so simple that any 
one can master the movements and make new combinations. 



CLin- SWINGING, 




r.lGHTHAND 
Outer— Inner 



Right or Left 



LEFTHAND 
Inner—Outer 

Tror{t 
>\ I Forward or Backward 



THE PRINCIPLES OF CLUB SWINGING. Fig. 1. 

In tlie engraving the black spots represent the handle of the club 

P nd the centre of the circle made by the end of the club in going around. 

'llu' hand being held nearly stationary. . n ^ 

The lines at the feet of the figure, show the manner of varying he 

movements by swinging in front, behind, at the side and diagonal to 

the front of the body. 

Any circle d(me in one direction can be reversed and swung in the 

opposite direction. , •.•^.,. 

Any circle done while the hand is held in any of the nine positions, 
can be done with the hand at any of the other positions. 

By understanding this, and the proper metlu.d of combining the 
circles into double movements, the pupil will be able to invent combi- 
nations including any two or all the circles. 



42 CLUB SWINGING. 

Accuracy is of the utmost importance in the practice of the exer- 
cises described in tliis book. This should be thoroughly understood 
as no skill can be accjuired Avhen the movements are done in a careless 
or awlcward manner. 

It would perhaps be better to first practice the movements with- 
out the clubs, turning the arm and wrist in the proper manner until 
the idea is perfectly clear, then proceed with the club. 

In selecting clubs the beginner should be careful not to get them 
too heavy for the difficult movements; a club which can be held at 
arms length and made to describe a wrist circle, is best, and the exercise 
which would be obtained by continuing their use a moment or two 
longer would be more beneficial than the strain of swinging a heavy 
one a shorter time. 

It is best to learn the names of the different circles and movements, 
as it gives a much clearer understanding of them than could be secured 
otherwise. In the single movements the names describe the circle it- 
self. In the double, the name indicates the movement by showing the 
relation the arms bear to each other in completing a circle. 

In practicing, stand erect, expand tlie chest, square the shoulders 
and slightly elevate the chin, look straiglit to the front, lean a little for- 
ward so as have the weight centre on the balls of the feet, have the 
heels two inches apart with the toes spread at an angle of forty five 
degrees. If there is a line in tlie floor or carpet, it would be well to 
stand facing it; make the club follow this line as nearly as possible. 

First bring the club to the starting position, with the hand opposite 
the right breast, the elbow pressed to the side, the knuckles turned 
out and the club extended vertically. 

Start every Circle or Movement from this position. When only 
one club is used let one arm hang pendant at the side. If a Straights 
Arm circle is to be done, elevate the club at arms length to a point 
direct! I y above, then proceed. 

First make the club describe an inner-circle, that is, start it toward 
the head or centre ol the body. Then describe the same circle at the 
side, that is, at right angles with the line. Then the same digonally 
with the line, next describe the same circle in the opposite direction 
or outer, starting away from the head or body, and so on through the 
three circles as before. Then try another circle the same, and as soon 
as all the single circles have been mastered take both clubs and pro- 
ceed in the same manner. 

If at first the club wrenches the wrist in making the circles, try some 
other way of holding it, as the whole secret of doing the difficult 
movements is in the manner in which the club is held in the hand. 



CLUB- SWINGING. 




BEXT-ARM CIRCLES, BACK. Eio. 3 and 4. 

Hold the club in the starting position, raise the arm and drop the 
club over the shoulder, make a complete circle beliind the back, and 
repeat. Allow the wrist perfect freedom, do not hold the club too tight 
as it will make the movement awkward. In the inner circle let the 
hand pass from the top of the head to the back of the neck. 

With the right hand drop the club to the right for the outer circle 
and to the left for the inner circle, and the reverse with the left hand. 

Endeavor to swing the club squarely, and let the evolutions be per- 
pendicular and parallel to the line ii\ the lloor. 

The only diiference between the inner and outer circles is the di- 
rection of swinging them. 



44 



CLUB-SWINGING, 




INNER MOVEMENT. Fig. 5. 

This movement combines the inner bent-arm circle, back of the 
shoulder and tlie plain straight-arm movement or sweep in front of the 
body, thus making a circle within a circle. 

Execute the same with the left hand carrying the club to the right 
instead of the left. 



CLUB-SWINGING. 



it 




OUTER MOVEMENT. Fig. 6. 

This movoment combines tlio outer beiit-anii circle back of the 
shoulder and llie straight-arm circle in front of the body. 

Wlien linishing the bent-arm circle, raise the arm and extend it 
straight vertically before starting the straight-arm circle. 



46 



CLUB-SWINGING, 




SIDE MOVEMENT. Fig. 7. 

From the starting position, drop tiie club forward or back, letting it 
turn loosely in the luind, finisli the bent-arm circle with a straight-arm, 
botli circles being complete. 

The circles sliould be made at riglit angles to the floor line. 

Repeat with the left hand. 



C L i; B - S\\' I N G I N G. 



47 




OVER- ARM MOVEMENT. Fig. 8. 
From the starting position raise the arm and extend it across to 
the opposite shoulder. Drop the club over it and made it describe a 
complete circle behind the back. Throw the head back to allow the 
arm to go over the shoulder as far as possible. 

Finish witli a straight-arm circle and repeat. Excute the same 
with tilt left hand. Reverse to the inner movement. 

UXDER-ARM MOVEMENT. Fig. 9. 
Extend the arm not in use horizontally. Drop the club with the 
arm reaching as far as possible, turn the knuckles out and describe 
the circle behind the back, with the hand close up under the opposite 
arm. 

In the movement combine the straight-arm with the under-arm 
circle. Reverse to outer-circle. Execute in the same manner with the 
left hand. 



48 




CLUB-SWINGIXG. 



49 




'isr. 11 



BEXT-ARM CIRCLE, FROXT. Fig. 11. 

Hold the club loosely ill the liand, taking hold of the ball of the 
hanc'le, turn the palm out and drop the club down and around. Keep the 
hand nearly stationary, allowing the wrist the necessary freedom. 

Finish with a straight-arm circle. 

Repeat, reverse and execute with the left hand. 

EXTENSION MOVEMENT. FiG.lO. 

Raise the arm and ])oiiit the club at an angle of forty five degrees 
upward, drop the club down behind the head and around until it is in 
a liorizontal position, then straighten the arm, from this position drop 
the club and pass it down in front of the body and up to the changing 
point. 

Reverse the movment, making the club pass in the opposite di- 
rection. 

Execute in the same manner with the other hand. 



do 



CLUB-SWINGING. 




INNER, LOWER WRIST-CIRCLES, IN FRONT. Fig. 12. 

From the straight arm circles swing the club around while the 
arm remains stationary and pendant, using the strength of the wrist 
and holding the handle firmly. Finish with the straight-arm circle. 
Execute the same with the left hand. 



CLUB-SWINGING. 



51 




OUTER, LOWER WRIST-CIRCLES, IN FRONT. Fig. 13 
From the straight arm circles swing the club around while the 
arm remains stationary and pendant, using the strength of the wrist 
and holding the handle firmly. Finish with the straight-arm circle. 
Execute the same with the left hand. 



CLUB-SWINGING. 




EXTEXDED-ARM WRIST-CIKCLES, Fig. 14 and 15. 

Turn tlie club in the hand, horizontal, to the right or left above 
or under the arm, or forward or backward on either side of it. 

Let the club roll in the hand and endeavor to keep it perfectly 
horizontal or vertical. When swung in front finish with a straight- 
arm circle. Keep the arm stationary. 



DIAGONAL CIRCLES. Fig. 17. 
Swing the arm diagonal to the floor line, first on one then on the 
other side of the body. Vary by holding one arm out and swinging the 
other under it. 



CLUB-SWIXGIXG, 




:::---C:3^ 



Fig. 16. 



nOPJZOXTAL-CIRCLES Fig. 10. 
For the Outer Horizontal circle, hold the club at arms length on a 
line with tiie shoulder. Pass the arm to the front, giving tlie club a half 
turn outward so that the end of it will be under the chin, complete 
the circle with the club, passing the arm to the opposite side, then back 
in the same manner. Understand that the arm makes only a half circle 
while the club makes one and a lialf. 

For the Inner Horizontal, turn the club in towards the face and a- 
cross to the opposite side, the arm moving as before. Make a half circle 
with both arm and club. 

This movement can be varied by making the club describe the 
circle on a line over the head, keep it horizontal as before. 

Finish with the lower half ot the straight-arm circle. 



UPPER, WRTST-CTRCLE. Fio. 18. 

After a straight-arm circle, and when the arm is extended vertically 
let the club drop down ami by a jerking movement of the haiid make 
it describe a wrist-circle, then complete the straight-arm circle and 
repeat. 

Swing either to the right or left and repeat with the left hand. 



CLUB-SWINGING. 



&« 




OUTER, LOWEPw, WRIST-CIRCLE. BACK. Fig. 19. 
Hold Iho club loosely in the hand or have the handle between the 
first and second fingers, turn the palm out. Start with a straight-arm 
circle, give the club sufficient force to carry itself around, allowing the 
wrist to turn with the club. Stop the arm suddenly, when down str- 
aight, make a wrist-circle with the club and finish with a straight-arm 
circle. Repeat, then execute the same with the left hand 



56 



CLUB-SWINGING. 




INNER, LOWER, WRIST-CIRCLE, BACK. Fig. 20. 

Start with a straight-arm circle, tnni the palms to the rear, stop 
the arm suddenly when down straight, turn the wrist out and allow 
the club to describe a circle behind the back, the hand following the 
club to the centre of the hack. 

Finish with a straight-arm circle. 

Repeat and execute the same with the left hand. 



CLUB'SWlKOmd, 



& 



#H 




STOP OR SLAP OX THE ARM. Fio. 22. 
In brini^inj? the arm to a liorizontal position, allow the club to pass 
over and dlop smartly on the arm and rebound, reversing the circle. 
Also by crossing the clubs when extended vertically and slapping them 
on the oppositc^arms, then throw tiiera up again, reversing the circle, 
or extend them out to the sides. 

Also by throwingthem up and dropping them over the head and 

finishing with an extension movement. 



H8 



CLUB-SW1XGINC3. 




Fig. 21. Illustrates the manner of combining one or more circles 
into a distinct movement. 

StralL^hten the arm alter each circle. 



CLUB-SWIXGING. 



59 




FROXT BEXT-ARM CIRCLE. 

Brin.G; the shoiildcr I'orward, hold the liand in front of the opposite 
shoulder, turn the palm out carry the club around for a complete circle 
and liiiish with a Straiij;ht-Arm circh'. This circle is made principally 
by the action of the liand and wrist. Reverse, swinging with the other 
hand. 



DOUBLE MOVEMENTS. 



The double movements are simply FOUR different ways of com- 
bining the single circles. 

The circles described comprise all there is to club swinging. When 
they are thoroughly mastered with either hand so as to be swung either 
to the right or left, forward or backward and the same diagonal, they 
can with ingenuity and patience, be formed into an endless variety of 
beautiful, intricate and difficult evolutions, by combining the circles. 

Any number of circles can be formed into one combination by 
counting while practicing. 

In Single Time, count one for the circle of both hands. That is, 
in making a straight-arm PARALLEL Fig. 23, or CROSS movement 
Fig. 24, count 1, add a bent arm circle, count it 2, viz, 1-2, 1-2, etc. 

In Double Time, count oiu^ for each circle of each hand. That is, 
in making a straight-arm FOLLOW movement. Fig. 25, count it 1 and 2, 
add a bent-arm circle, count it 3 and 4, viz. 1-2-3-4, 1-2-3-4, etc. Always 
count as many numbers as there are circles in the combination. 

The REVERSE movement Fig. 2G, can be done either in single or 
double time, 

The best method for learning the double movements is as follows. 
Hold the clubs in the starting position, go through the movement sev- 
eral times with the right hand, then do the same with the left. Repeat 
making one circle less with each hand, and continue, making one less 
each time, until the movement if? done once with each hand. Then 
count the circles and proceed, counting as directed. 

When the movements and circles have been mastered sufficiently 
well to allow it. tiu' interest in the exercise will be increased by ar- 
ranging a routine of movements so as to have them in groups, with 
all the changes which are in them, in the order in which they should 
come, with tlv easy movements first and the most difficult last. 

To become an artisticand graceful performer, it is necessary todo 
every movement in perfect time and with the greatest precision t!;i;s 
combining grace and elegance. If the club is to be held perpendicular 
let it be exactly so ; if horizontal exactly horizontal Describe all the 
circles and sweeps squarely to the side or front, and do not swing too 
fast. Where you can liave the benefit of a large mirror, it will be a 
valuable assistance in exhibiting defects and correcting awkwardness, 
and it will also assist in developing countless variations and move- 
ments. The latter affording an ample field for ingenuity and skill in 
combination, and with patience and perseverance, the pupil will soon 
become the master of a beautiful and beneficial accomplishment. 



CLUB-SWINGIXG. 




(i2 



CLUB-SWIXGIXG. 




DOUBLE BEXT-ARM MOVEMENT. Fig. 27. 
As an illustration of simplicity of the double movements the figure 
here shown will be a fair example. The movement shown is a com- 
bination of thelnnerand outer bent-arm circles. By crossingthe clubs 
above the head a Cross movement is made. By swinging one in ad- 
vance of the other a Reverse movement is executed and by passing them 
both in the same direction a Parallel movement is the resull 



EXTEXDED-ARM CIRCLES. FiG.28. 
The figure illustrates the manner of doing these cirlces with two 
clubs. Swing the clubs 1st. Outside of the arms. 2nd. Inside. 3rd. to 
the Right of both. 4th. to the Left. Either Forward or Backward. 
They can be done Parallel, Cross, Follow or Reverse, in Front and at 
the Side. 



CLUB-SWINGIXG, 




PARALLEL MOVEMENT. Fig. 29. 

This movement is a combination of the Inner and Outer circles, 
the clubs moving parallel for a complete circle. 

It is of great importance to throughly understand that the descrip- 
tions of double movements are not only for the Straight-arm circles, 
but also for every circle described in the Single circles. They can all 
be done in the ways described, and any two or more can be combined. 



CLVS-SWIKOtilS. 






it \ '-ff^' ' ' ' 

\ \ \ " 

\ \ 

\ \ 




FOLLOW MOVEMENT. Fig. 30. 
This movement is the same eoinbiiiatioii as the Parallel, tlie clubs 
/ollowing each other like the arms of a windmill, retaining tlie same 
relative position for a complete circle. 

A back circle either upper or lower must be added to allow the clubs 
to pass each otlier. 



CLUB-SWINGING. 




DOUBLE EXTENSION MOVEMENT. Fig. 31. 

The double Extension is a combination of half a Straight and half a 
Bent Arm circle, and can be done Parallel, Cross, Reverse or Follow, 
it can also be combined with any of the circles by doing the Extension 
with one club and the circle with the other, arranging the count, to 
allow the clubs to pass each other without breaking the time. 

These combinations of half circles should receive due attention as 
it is the only way to reverse from Right to Left or to change from one 
movement to another without breaking the time. 



66 



CLUB-SWINGIXG. 




CROSS MOVEMEXTS, IXXER OR OUTER, Fig. 32. 

For tlie Inner Cross-circles, start by crossing tlie arms or clubsat 
the top of the circle and separating tliem at the bottom, coming to- 
gether and crossing as before at the top. 

For the Outer Cross-circle, start by separating tlie arms or clubs at 
tlu! top and crossing them at the bottom. 

Combined with the Lower Back or Front circles this movement 
becomes very pretty. 



CLUB-SWINGING. 



67 




INNER REVERSE MOVEMENT. Fig. 33. 

The Inner Reverse movement is the Inner 8traiglit and Bent-Arm 
circles combined, tlie arms or clubs crossing and separating at the sides 
of tlie circle. Start by swinging one half of a circle with one hand be- 
fore moving tlie other, then move both toward each other passing 
at the outermost part of the circle, repassing at the opposite side. 

To combine the Straight and Bent-Arm circles, as in the figure, 
start both clubs in opposite directions at the same time, make the right 
hand club describe a complete Inner Bent-Arm circle, while the left 
describe an Inner Straight-Arm circle, the club regaining the starting 
position together. Then repeat, making the left hand club describe 
the Bent-Arm circle and the rig lit the Straight-Arm circle. 



CLUB-SWINGING. 




OUTER REVERSE MOVEMENT. Fig. 34. 

The Outer Reverse movement is the Outer Straight and Bent Arm 
circles combined, the arms or clubs crossing and separating at the sides 
of the circles. Start by swinging one half of a circle with one hand 
before moving the other, then move both tow-ard each other passing 
at the outermost part of tiie circle, repassing at the opposite side. 

To combine the Straight and Bent- Arm circles, as in the figure, 
start both clubs in opposite directionsat the same time, make the right 
hand club desoribc^ a complote Outer Bent-Arm circle, while the left 
describes an Outer Straight-Arm circle, the clubs regaining the starting 
position together. Then repeat, making the left hand club describe 
the Bent-Arm circle and the right the Straight- Arm circle. 



CLUB-SWINGING. 



6t* 




OVER-ARM MOVEMENT. Fig. 35. 

Tliis movement is swung the same as the Inner and Outer Reverse 
movements and the same directions shouhl be followed. 

Throw tlie head well back and extend the arms to tiieir greatest 
length to allow the clubs to make a gracetul circle over the shoulder. 



70 



CLUB- SWINGING. 




FRONT BEXT-ARM MOVEMENT. Fig. .%. 

For tliis movement follow the directions, given fen- the Inner and 
Outer reverse circles. , 

Extend the arms to f nil length and compress the shonlders forward 
to allow the necessary action of tlie arm, making the Bent-Arm circle. 



;lub-swinging. 



71 




EXERCISE FOR HEAVY CLUB. FiCx. 37. 
Stand witli tlie feet well braced, as in tlie fij^ure. From the Starting- 
Position raise the clnb and drop it over tlie head and let it hang behind 
the back, then reverse the movement passing tlie clnb with arms ex- 
tend, around in front and up to a horizontal position behind the back. 
Vary the movement by passing the club to the right or left of the 
bodv. 



72 



CLUB-SWINGINGa 




SECOXD EXERCISE. Fig. 38. 

Raise the club, drop it over the shoulder, extend the arm to full 
length, pass the club in a lull sweep in front of the body and as far up 
behind as possible, then reverse the movement, carrying the club to 
the Starting-Position before re])eating. 

The movement over the head should be made principally with the 
wrist. 



CLUB-SWIXGING. 



73 




THIRD EXERCISE. Fig. 30. 
Tills exercisp is similar to the preceedins one and for two clubs. 
Raisv tlie clubs from the titarting-Position, drop them behind the back, 
bending the arm as much a« possible, then return them to the Starting- 
Position, make a Bent-Arm circle at the side and in tinishinf? it extend 
the arms and make a full sweep in front, past the side and up behind 
the back to a horizontal position. Then reverse the movement and 
return to the Starting Position. 



n 



CLUB-SWINGING. 




STRAIGHT-ARM EXERCISE. Fig. 40. 
Extend the arm full length, pass the clubs in opposite directions 
bescribing full circles. Reverse the movement. Vary the movements 
by swinging both clubs in the same direction but having them at op- 
posite sides of the circle. 

Turn the body from side to side to assist the movement of the arms. 



DUMB-BELL EXERCISE. 



There is scarcely any exercise that cannot be assistedby the use of 
dunib-bells. Almost every muscle of the body can be used, the wrists, 
forearms, shoulders, biceps, back, chest, thighs and calves all are 
kept busy. 

In exercising, keep the head up breathe deep and full allowing the 
chest to expand to its utnu)st. 

In purchasing dumb-bells the same precautions should be taken 
as advised for Indian clubs. The exercises described in this book are 
for light bells, from five to ten pounds. If practiced by ladies and 
children wooden ones should be used. 

In addition to the exercises described, the bells can be used the 
same as Indian clubs, making circles in endless variety around the 
body. 

FIG. 1. Hold the bells at the side with the arms pendant. Draw 
the bells up to the arm pits, turning the wrist as far in as possible. 
Repeat this and all other movcmeiits until fatigued. 

FKl. 2. Hold the arms horizontally in iront, pass them back on a 
line with the shoulders as far as possible, crossing the arms in returning. 

FIG. 3. Raise the bell from the pendant position to a line with the 
shoulders, turn the palm out and extend the arm vertically. Reverse 
the movement, resuming the first position. 

FIG. 4. Keep the arms straight and swing the bells over the head 
and as far back as ])0ssible, then reverse the direction and swing the 
arms down past the sides and up behind the back. 

FIG. 5. Hold the arms at the side, swing the bell out and up strik 
ing them together over the head. Vary the movejiient by swinging 
one bell up and the other down. 

FIG. 6. Stand erect, holding the bells at the chest. Step out to the 
side as far as possible, at the same time extending the arms horizontal 
ly. Regain the first position and repeat the movement on the opposite 
side. Vary the movement by stepping to the front and rear. 

FIG. 7. Stand with the legs well spread, extend the arms vertically, 
bend back as far as possible, then swing the bells down and as far 
between the legs as possible and up again. 

FIG. 8. Bend the legs and keep the back straight, touch the bells 
to the floor, straighten up and extend the arms high <^biOv^ the head, 
standing on tip toe. 

FIG. 9. Stand with the arms extended over the head, bend grad- 
ually down, as far as you can, keeping the arms extended, then slowly 
resume the upright position and bend to the otlier side in the same 



76 



DUMB-BELL EXERCISE. 




( \. 





Fig. 1. Fig. 2. 



Fig. 3. 




\ 




Fig. 4. Fig. 5. 



DUMB-BELL EXERCISE. 




s:2^ 



Fig. (i. 




Fig. 7. 





Fig. 8. 



Eig. 9. 



78 



FEXCING. 



Owin^to the difficulty of learning, Fencing does not receive the 
attention it deserves as an art. It is a splendid exercise, developing 
the calves, thighs, abdominal muscles, one shoulder, arm, wnot and 
hand, and is excellent for the lungs. It is unequaled for giving grace, 
nerve, quickness of eye and judgment, dash and agility. 

The author would impress upon the puj)il tiie importance of begin- 
ing properly to ac(iuire this difficult art, for we promise you it will prove 
to be a most stupid amusement if not practiced with attention and 
patience. Study one movement before beginning another and partic- 
ular attention should be given to the first positions. 

The rudiments of Fencing consists in the working of the right 
arm, the thrusts, the recovery, advancing, aiul retreating quickly and 
safely. 

The following suggestions carefully followed will benefit the be- 
ginner. Never fence unless properly protected with mask, jacket, 
gauntlet and glove and be sure that the foil is properly buttoned. 

Be not affected, negligent or stiff. Do not get angry at being 
touciied, give credit to the hits you receive and be not vain of those 
you give. 

In presenting the foils always give the choice to your adversary. 
Never put yourself within reach of your opponent unless on guard. 
Be satisfied with one hit at a time. If you are inferior make no long 
assaults. Do nothing useless and endeavor to discover your opponent's 
intentions and conceal you own, in fact act more with your head 
then hands. Make your feints small. Never attempt to hit your ad- 
versary in the salute, and if by any means your opponent loses his 
foil, in politeness, pick it up and present it to him. Never make use of 
the left arm nor turn your back to your adversary. If possible join 
foils after every hit, previous to another attack. 

The Foil should be a quadrangular blade 34 inches long from 
point to hilt. The best are those marked "Solingen" and stamped 
with a crown. The handle should be 7 inches long and covered with 
twisted twine. The point of the foil should always be covered with 
gutta-percha or leather, the former is preferable and more convenient. 

To put it on, heat the end of the foil a little, press the substance on 
the point, heat it and mould it round with the fingers in water. 



FENCING. 



79 



To Advance. Take a short quick step forward with the right 
foot, following with the left, and keeping the same distance between 
them as if making one movement with both. Keep the feet in their 
l.roper positions, the knees equally bent, body erect, eyes to the front 
and the foil on-guard. 

To PtKTiJEAT. Take a short (piick spring back with the left foot, 
following immediately with the right, planting itfirmly on the ground. 
Keep the weight of the body equally on both feet. 

POSITION. Figs. 1, 2, 3, 4. 

Fig. 1. First Position. Face your adversary, the left breast turned 
from him, point your right foot forward, the left to the left, the right 
heel against the left ankle, body upright, hips drawn slightly back, 
head erect, hands hanging loosely at the side, the left holding the foil. 

Fig, L>. Second Position. Bend the arm as high as the elbow, 
palm upwards, bring it across the body grasjiing the hilt of the foil, 
thumb down. 

Fig. :^. Third Position. Raise both hands above the head, separat- 
ing them, hold the button of the foil with tlic left hand. 

Fig. 4. Fourth Position. The finish. This is done after thrust- 
ing in the Salute. Bring the left foot up to the right heel ; elevate the 
right hand under the chin, at the same time dropping the left hand to 
the side then straighten the right arm to the right side as low as pos- 
sible, knuckles downwards. 

THE SALUTE. Fig. G. 
Before fencing for hits it is an established form of politeness to 
Salute. It is also an excellent practice, as it prepares the body for the 
more energetic movements in the Assault. 

1st. Stand as in Fig. 1, with the foil in the left hand. Salute by 
presenting the right hand to your adversary as high as the chin, palm 
up, arm straight. Take the second position Fig. 2. Raise the hand 
above the head as.in Fig. 3. Step out on guard right-high but keep 
your foil out of line with your adversary's body to the right, your op- 
ponent doing the same. Beat twice with the right foot leaving the 
body exposed, invite your adversary to thrust, at which he brings his 
point in front and thrusts right high, but Avithout touching your body ; 
his point siiould be at least an inch from your breast. This is called 
measuring distance. 

Your adversary having recovered, do the same by bringing the 
right foot up to the left ankle, the right hand brought under the chin see 
Fig. 4, the left hand dropped to the side, From tliis position salute 



FENCING 




FIG. I. 

First Position 




FIG. 2. FIG. 3. 

Second Position. Third Position. 



To liokl the foil 





FIG. 4. 

Tmp.r Position. Finish. 



Position ill Longeiug 

FIG. 5. 
How to hold the Foil in the 
Hand. 



FENCING. 

81 

Hie audience by turning tlie eye and foil to tlie left and right. Return 
the foil to the left hand and repeat the movements as before. 

TO HOLD THE FOIL. Fig. 5. 
Hold the foil firmly but not hard. The thumbalong the upper side 
of the hilt, tlie other fingers underneath it; as shown in the engraving. 
In Thrusting, turn the nails up. 

OX-GUARD. Fig. 13. 

From the third jmsition. Fig. 3, Lower the right arm and foil till 
tlie point of the foil is about on a line with your adversary's face, the 
elbow level with the waist and drawn inwards. The forearm and foil 
in a straight line. The left hand remains in the third position with the 
palm turned to the front. 

Bend both knees equally and advance the right foot to a comfort- 
ble distance so that the leg from the knee down will be perpendicular. 

THE THRUST OR ATTACK. Fig. 12. 

Straighten the right arm, raise the hand and direct the pointof the 
foil at your oi)ponent. Turn the nails upward, step forward with the 
light foot ami .straighten the leit leg, taking care not to move the left 
foot. At the same time throw the left hand back to within a few 
inches of the thigh. 

Practice these movements thoroughly and often to give freedom to 
the joints. 

TO RECOVER. 

Bend the left knee, return the left arm to the position on-guard, 
resume the position of the feet, the weight equally divided Stand firmly 
though not stilf, with head erect. 

THE ATTACK. 

The Thrusts are four in number, as follows. 

Left-high, Right-high, Left-low and Right-low. These are varied 
by holding the hand with the finger nails turned up or down. 

THE DEFENCE. Fig. 7. 
The defence consists as shown in the diagram, of Outer-high, Inner- 
higli, Outer-low and Inner-low parries. Thus avoiding the thrusts in 
the four lines of attack. They are varied as in the thrusts, by the 
position of the hand and swords edge, in one case with the nails turned 
upwards, in the other with the nails down. 

The following table shows the Thrusts and Parries for each, also 
the technical names of the thrusts or longes. 




FIG. 7. 
The Principle or the Defence, 




FIG. 6. 
The Thrust in Salute. 



For the Left-High Thrust, use the Inner-Iligh Parry. Carte, nails 
up. Quinte, uails down. 

For the Riglit-lligli Thrust, use the Outer-High Parry. Tierce, 
nails up. 8ixte, nails ilown. 

For the Left-Low Thrust, use the Inner-Low Parry. Prime, nails 
up. Se])tinie, nails down. 

For the Kight-Low Tlirust, use the Outer-Low Parry. Si'conde, 
nails up. Octave, nails down. 

Parry the attack on tjie lett-high, beneath his hilt. 

Parry the attack on the right-iiigh, beneath iiis hilt. 

Parry the attack on the left-low, above his hilt. 

Parry the attack on the right-low, above his hilt. 

All of which are etfected with the hilt of your foil upon tlie poiiu 
of your adversary's, either by a sharp beat or sinii)le pressure. 

"When attacking or attacked : as only one of the parries can be used 
at a tinu\ the three others remain open tor attack. For this reason 
all parries should be formed with a vicwof countering or attacking im- 
mediat ly y(»ur adversary's blade is turiu*d aside. To attain this eiul the 
two ways of holdng the foil allow a variation, that is the nails up or 
down. The foil blade follows the sanu^ liiu' in either cast', the ditfer- 
ence being only in the positions of the wrist, arm and elbow. 

THE SIMPLE PAPvKIES. 

Are made when your adversary disengages from right to left or 
high to low, and should be made with the slightest possible movement 
of the wri.st and foil, nescessary to turn the thrust aside. 

COUNTER PARRIES. 

Are those which describe a circle round the adversary's blade, 
until it meets it again in the original line ot engagement, and throw- 
ing off the attack in an opposite line from that in which it is directed. 

OPPOSITION. 
Oi>position is where one blade is i)ressed against another. A good 
opposition is an essential feature; in fencing; as you are guarded at 
least on one side; it also enables you to discover your adversary's inten- 
tion by the feel of his foil. 

THE ENGAGEMENTS. 

Crossing foils with an adversary is termed The Engagement; when 
In attacking you he shifts his blade, as from right to left or left to right 
it is a disengage. 



FENCING. 




FIG. 12. 

The Thrust or Attack, Left-high. 




FIG. 13- 
The Left high Engagement, Inner-high Parry. 



FENCING. 

8." 

THE LEFT-HIGH ENGAGE. Fig. 13. 
Cross the foils about six inches troni the button, oppose the ad- 
versary's foil sufficiently to i)revent him from thrusting in the engage. 
Keep the finger nails up, the right arm bent inwards. The point of 
your foil should be as high as your oi^ponent's face, your right fore- 
arm as higli as your chest. By pressing the liand to the left this makes 
the Inner-higli parry. 

THE RKillT-HlGll ENGAGE. Fig. 14. 
This engage, beingthe opposite to tlie Left-high, ditfers from it only 
in tlie position of the han<l, the nails being turned down, the foils joinec' 
as in the Left-high. By turning the hand to the right, pressing out 
wards, this makes the Outer-high parry. 

LEFT-HIGH THRUST. Fig. 12. 

When engaged to the left of your adversary's foil, press with the 
hilt of your blade upon the point of his, thus forcing it out of line. 
Straighten the arm, raising the arm and hand, lowering the point of 
the foil, turn the nails upwards, step forward from fifteen to eighteen 
inches with the right foot, and straighten the left leg by i)ressingback 
the knee. Do not move the left foot, which must be kei»t flat and firm. 

At the moment of thrusting, lower the left hand to a point within 
a few inches of the thigh. 

Attention should be paid to the position of the legs ; the feet remain 
at right angles and the right leg should be perpendicular from the knee 
down. Keep tlie head and shoulders the same as when on-guard. 

THE SIMPLE IXXER-PARPvY. Fig. 13. 
Press the point of your opponent's foil off to the left by beating it 
with the hilt of yours, passing your arm across your body. Keep the 
foil in the position on-guard and turn the nails to the left. 

INNER COUNTER-PARRY. Fig. 8. 
When your adversary feints to thrust Right-high, follow his foil by 
making a small circular motion to a right until you meet it again in 
the same place. If he disengages a second time, take the simple parry. 
This makes a good and safe parry, as it stops most of the feints. 

COUNTER-PARRY AND RETURN. 
More hits are made by this means then by any other form of attack, 
therefore constant practice at it with an instructor or opponent should 
be had. Make a strong and proper parry that the adversary's blade 



FENCING. 




FIG. 8. 
Inner High-counter Parry. f'lG 9. 

Outer High-counter Parry. 




FIG. 10. 
Inner Low-counter Parry 



FIG. II. 
Outer Low-counter Parry. 



FENCING. 



87 




FIG. 14. 
The Right-high Engagement, Outer-high Parry 




FIG. 15. 
The Left-low Engagement, Inner-low Parry. 



gg ^ FEXCING. 

may be thrown out of line, then from tlie position of the parry and 
without otlier movement tlian that of tlie arm ; thrust iu return. The 
movement of the foil slioukl be continuous and become almost one 
action in itsliglitning lapidity. Thereturn is generally delivered witli 
the nails up, though there is sometimes an advantage in keeping them 
down. 

The return is generally made direct, but sometimes the disengage 
or cut over the point, can be used. 

RIGHT-HIGH THRUST. Fig. 17. 
Being engaged to the right of your adversary's blade, if he is not 
well covered, straighten your arm, lowering the iK)int of your foil to 
his chest, thrust with the nails down, looking inside the arm. Keep 
the body upright, shoulders back, feet firm on the ground, left knee 
straight, right leg perpeiulicular from the knee to the ankle. 

SIMPLE OUTER-PARRY. Fig. 14. 
Turn your hand outwards moving the forearm slightly to the right, 
toil in position on-guard. 

COUNTER OF HALF-CIRCLE. Fig. 9. 
In making an assault, if your opponent passes liis foil over yours, 
follow by making a circle till you meet it again in a half circle, if he 
disengages again, take the simple parry. If necessary make the circle 
twice, keeping the hand well up and holding the foil firmly. 

COUNTER-PARRY. Fig. 9. 

Follow your adversary's foil to the left, in a circular movement 
meeting it again in the same line of attack. This being taken after a 
disengage, if your adversary disengages again, take the simple Right- 
high parry. 

Have tlie nails down- and be careful not to get too near your 
opponent. 

COUNTER-PARRY AND RETURN. 

After the parry, direct your point at the chest of your opponent 
either Right-high or Left-high. 

HALF-CIRCLE PARRY. Fig. 9. 
This is used after having parried high for a low thrust. Raise the 
hand as high as the shoulder, bend the arm, turn the nails upwards, 
draw the elbow in, parry with the point low. Return, thrusting Right- 
hijih. 



FENCING. 




FIG. i6. 
The Right-low Engagemknt, Outer-low Parry, 




FIG. 17. 
Disengage from Left to Right and the Simple Outer-high 

Parry. 



!>0 

LOW THRUSTS. Figs. 15, 16. 
The low thrusts are similar to the high in the movements of the 
hand and arm. The point to direct your toil at, is just under your op- 
ponent's sword arm. 

PARRY. Figs. 15, 16. 

To parry the thrust on the right, beat tiie point of your adversary's 
foil witli the hilt of your blade, use the Inner-low parry of lialt-circle 
nails down, for the thrust on the left use the Outer-parry of half-circle 
nails up. 

Return all low thrusts with high ones. Hold the ln^ad well up, do 
not throw tiie body too much forward and recover quickly. 

COUNTER- PARRIES Fig. 8. 
Counter-parry all low thrnsts the same as the high-thrusts. Counter- 
parry and return also the same. 

THE DISENGAGES. Fi(;s. 17, IS. 
Wlien your opponent presses your foil, lower your point to within 
two or three inches of his hilt, quickly passing it to the ojipositc^ side 
of his blade; straighten the arm and thrust. Recover in the original 
engagement. 

CHANGE OF ENGAGEMENT. 

The change, ditfers from the disengagement in the fact that it is a 
mere shifting of tlie foil from one side of your adversary's blade to the 
other without straightening the arm ; an attack ujjon his blade oiil>. 
It is performed by a circular movement which carries your point under 
the hilt of his foil, to the opposite side. 

FEINTS. 

The feint of one, two, consists of disengaging from right to left 
or left to right, straighten the arm; the moment your opponent uses 
the simple parry return to the opposite side, thrust ami recovei-. 

The feint of one, two, thkee, ccmsists of disengaging, from one 
side to the other returning again and then disengaging a tliir.l time. 

The LOW FEINT.S are similar in action, drop your jioint uixler 
your opponent's hilt, principally by the movement of the fingers and 
wrist. 

TO THRUST AT ALL FEINTS. 
Endeavor to confuse your opponent by beating the ground with 



FENCIXG. 




FIG. l8. 

Disengage from Right to Left and the Simple Inner-high 
Parry. 




FIG. 19. 

LeFT-LOW ThRL Si AND THE IXNER-LOVV PaRRY- 



^ FENCING. 

the right foot, disengage without thrusting, extending the arm ; by this 
means you will discover what parries he intends taking and what 
thrust you can safely make. 

WRIST PRACTICE. 

An excellent practice is for two persons is to counter right and left, 
as follows. Your adversary disengages on you, take the counter, dis- 
engage without touching, he taking the counter on your disengage; 
repeat this for some time then reverse the movements. This practice 
will develop the two essential things of fencing; a strong and supple 
wrist. 

THE CUT OVER THE POINT. Fig. 21. 

When engaged on either side. If your adversary holds his hand 
low with the point high, raise your hand sufficiently to clear his foil 
without exposing your body. Cut the foil over his point and thrust for 
the center of his chest. If he parries, disengage under his arm and 
thrust on the opposite side. The cut and thrust should be made simul- 
taneously. 

Be careful that the body is well covered that you may not be hit at 
the same time. The same caution should be observed in the disengages. 

BINDIXCx. 

When your blade clings to your opponent's as it turns with it, it is 
termed binding his blade. For an attack on this principle, draw your 
wrist in, sufficiently to oppose your hiltto your adversary's point, then 
suddenly from that i>osili()n, bind your blade over his, and without 
(luitting it, bring your point in a line with his body under the arm, 
thrust Left-low keeping the foil in opi)osition. 

THETIME-TIIF.rST. 

Time-thrusts are for tiie purpose of forestalling instead of parrying 
and their success depends upon their being timed exactly as your ad- 
versary is planning to execute an attack. When your opponent 
advances with his hand low, stretch the arm and thrust quickly, mak- 
ing sure that you are well covered yourself; if he forces your f.»il, 
disengage. 

Time-thrusts are made either in opposition or out of opposition ; 
blades crossed or not crossed; those in oi)position are less dangerous. 
There are also tl^e time over the arm and time under it. 

Use the Time-thrusts only when your oi»ponent unwisely exposes 
himself and you are certain that you will not get hit at the same time. 

TO PARRY ALL FEINTS. 

To confuse your adversary, vary the parries by making use of all 



FENCING. 




FIG. 20. 
Right-low Thrust and the Outer-low Parry. 




FIG. 21. 
The Cut-over-the-Point. 



94 FENCING, 

the guards and parries, counter-parries, and lialf-circles. In fact mak( 
as many movements as possible to deceive your opponent; but neve 
deviating from the opposition on wliicliever side you are engagec 
thereby running a risk of being liit wliile making the feints. 

THE ASSAULT. 

In an assault with the foils, the combatants should always b( 
provided, with mask, jacket and gloves, and the foil should beproperlj 
buttoned. When you put yourself On-guard, endeavor to discovei 
whether your adversary iuteiuls lo attack or defeiul; for this purpose 
take one step back, showing your point opposite his chest, if he thrusts 
parry simi)le, should he feint, counter-parry, etc. 

Try not to let your adversary know your intention, by your eye oi 
otherwise, keep changing to avoid this advantage which youniay givt 
him. Keep the head back in Thrusting. Alwaystakccareto be covered 
in whatever side you are engaged; if left, cover the body to the inside, 
if right, cover the body outside, observe the same rule for the low guards. 

TRACTICE EXERCISE. 
Fencers practicing without a master should go through a/thrusting 
exercise before commencing an assault. A simple exercise is here given 
for those who have learned all the movements. 

1. On-guard, engage Left-high, Disengage, Thrust, recover right 

2. Engage Right-high, Disengage, Thrust, recover left. 

3. Engage Left-high, feint one, two, Thrust, recover right. 

4. Same from right eugagement. 

5. Engage Right-high, Disengage. The opponent Counter-parrying, 
follow him round, Thrust. 

0. Same from Left-high. 

7. Round to the right. Thrust, Round to the left, Thrust, 

8. Opponent Disengage ; Parry simple, Thrust. 

9. Opponent Disengage, Counter-parry and return. 

10. Engage Right-high, bent with the foot, Thrust. 

11. Same, beat, feint one, two. Thrust. 

12. Same; Left-high. 

In these exercises the pupil must endeavor to touch his opponent 
when he thrusts. By practicing this lesson you will in a degree,. check 
the formation of awkward habits, which are apt to atteiui too constant 
fencing without intervening lessons from a qualified master. 

The following rules should receive careful attention. 

Engage out of the immediate reach of your adversary and always 
cross liis foil, if possible, right or left-high. Regulate your guard to 
his height. 



fp:xcing. 

95 

If your adversary will not cross blades, threaten him with the point, 
but do not thrust unless you have a decided advantage. 

If he raises his point, beat sharply and thrust. If you have the 
advantage of reach, attack ; if not, trust chiefly to the counter-parry 
and return. 

Be not confused when you find your foil jarred and crossed in an 
irregular manner. With a little practice you will see how to avoid 
this and profit by the irregularity. 

Whip along the blade on the left or wrench over it from the right, 
when youratlversary engages with a straightened arm, or attempts to 
arrest an attack by exteiuling it. 

Disengage to the opposite side, when your oppoiuMit attempts to 
beat. 

Yield tlu' wrist and blade to his action, without quitting his foil, 
when he attacks by circling the blade, for by yielding the wrist the foil 
is brbugiit round to tht* original <'ngagtMnent. 

When your adversary rests on his thrust, beat or wrench before 
returning his thrust. 

Regain the position of defence after each thrust, whether successful 
or not. 

To plan an attack on your adversary; feign the semblance of dis- 
engagement to find his usual manner of parrying. 

If he tries that upon you, adopt some particular parry in order to 
draw an attack foumk'd upon it, which you will then be prepared to 
meet and turn to advantage. 

Disengagements made under the wrist are more dangerous then 
those made close along th(^ blade. It is easier to cut over the point 
when your adversary's guard is low and his point high, because your 
point is near to his point. And it is easier to disengage when y^ur 
point is near his hilt. 

Watch good fencers when ever you have an opportunity. 



GYMNASTIC EXERCISES. 



In the preceding exercises the development of particuhir muscles 
was secondary to attaining skill at them, the chief purpose in all of 
them being to out-do one's opponent. The Gymnastic Exercises aim 
directly at the improvement of the various parts of the muscular sys- 
tem, for by the judicious use of the gymnastic machinery the body 
gradually accustoms^itself to the demand for muscular exertion, ex- 
pansion and compression. 

The practice of gymnastics not only increases bodily strength, but 
teaches the pupil how to to economize the power which he possesses. 
As the action of the body depends upon the co-operation of the muscles, 
skill and grace consists nearly as much as in the suppression of un- 
necessary movements as in acquiring dexterity in the necessary ones. 

THE HORIZOXTAL-BAR. 

Fig. 1. Hanging by the hands. Keep the body straight, feet close 
together. 

Fig. 2. Hanging by the toes. Hang by the hands, bring the legs up, 
hook the toes over tlie bar, let go the hands, straighten the body and 
stretch the arms or fold them. Draw the body up, take hold the bar 
with the hands, letting the legs down. 

Fig. 3. To get on the Bar; gradually draw up to the chin, swing the 
leg up and throw it over the bar. Swing the hanging leg and bring 
the body above the bar. Keep the body straight and upright. 

Fig. 4. To chin-the-bar. Grasp the bar with the palms to the front 
draw^ the body up until the chin is above the bar, then lower the body, 
straightening the arms. 

Fig. 5. Forward Knee-Swing. Straighten the upper portion of the 
body, keeping the whole weight on tlie arms, throw^ the head forward. 
Plunge forward and a^'ound, keeping a tight hold with the hands, body 
erect, make a complete revolution round the bar. 

Fig. 6. Backward Knee-Swing. Throw^ tlie right leg back, at the 
same time slip the left leg down catching the bar in the bend of the 
knee, throw the head back, give a good swing, make a backward turn 
around the bar. 



HORIZONTAL-BAK. 

97 

Fig. 7. Forward Double-Kin'C-Swing. Raise tlio body, let (he 
whole weight rest on the arms ; tlirow the chest out and head back, keep 
the legs rather straiglit, swing forward and entirely around the bar 
returning to the sitting position. 

Fig. 8. Backward Double-Knee-Swing. From the sitting position, 
drop back to the knees; fall backwards with arms cxteiuk'd, swing 
clear around to the sitting position, keeping a tight hold oi the bar with 
the knees. 

Fig. 1). Backward-Circle. Keep the arms stilf, throw the body a 
trifle out from the bar thereby getting impetus t<> go entir«>ly around. 

Fig. 10. Getting on the Bar. From the position in Fig. 1, take a 
small swing, throw tlie leg between the hands, give a good swing with 
the other leg and circle up on to the bar. 

Fig. 11. Slow Pull-Up. Get the hands well over the bar, hanging 
in fact by the wrists, raise the elbows and ]iull up and over the bar. 
Keep the legs well together. 

Fig. 12. The Koll-Otf. Sit perfectly straight on the bar, bring the 
arms above the head and fall backwards, turning a partial somersault 
to the floor. Be careful not to draw the legs up ; and practice at first 
with a belt or mattress. 

Fig. 13. Pull over the bar backwards. Pass the legs through the 
hands, straighten the body draw up a littk^ above the bar, and bending 
the body slightly, roll over the bar gaining a sitting posture. 

Fig. 14. Double Arm-Sv/ing. From the sitting ])ositi()n, straighten 
the body, put the arms straight down behind, slip down until the bar 
catches inside the arms, clasp the hands across the chest, create a 
swing with the legs and circle clear around the bar. This movement 
can also be reversed. 

Fig. 15, Pull over the bar forward. Draw up to the chest; throw 
tliehead back, project the legs forward and upward, at the same time 
straighten the arms and as the legs i)ass over the bar pull up on the 
arms, coming up on the other side of the bar as in Fig. IC 

Fig. 17, 18. Back and Front Horizontals. Hang in a horizontal 
position under the bar, keep the head well back and support the entire 
weight with the arms. 

Fig 19, 21. Giant-Swing. Throw the body up to nearly a hand- 
balance, bend the body slightly, get a good monu'ntum, swing down. 
At the bottom of the swing, throw the head back, jerk the legs up, draw 
in the arms, thus coming up on top of the bar. 

Fig. 20. Lay-Out Somersault. From the Forward Giant-Swing ; 
when the body is horizontal, let go the hands, throw the head well 



HORIZONTAL BAR. 




Horizontal-bar. 

back, chest out, turn quite around, aligliting on the feet. 

Fig. 22, 23. Back Giant-Swing. Grasp tlie bar witli the fingers 
under and the tlunnb over. Incline the body forward until nearly 
horizontal, throw the legs up, arms bent, fall over, straighten the arms, 
swing around, come up again to the position of Fig. 22. 

Fig. 24. Snap-Up. Hang on the bar, bring the feet up to it, shoot 
the legs out as far as possible, draw the waist up to tlie bar, make a 
sudden change of hands ; bringing them over the bar and pulling the 
body over it to the position in Fig. 10, 

THE PAllALLEL-BARS. 

Fig. 25, 2G. Vaulting. Swing backwards or forwards, tlirow the 
legs over the side. Keep the body straight and legs together. 

Fig. 27. "Walking. Take steps with the arms as even and regular 
as possible, with the head up and body straight. Walk forward and 
backward. Perform the same movement by hopping with both arms 
at once. 

Fig. 28, 20. Pumping ^lovement. Throw the legs back, drop the 
body forward by bending the arms, swing the legs forward and when 
the legs are in a horizontal position in front, straighten the arms. 
Return in the same manner. 

Fig. .'30, ;U. Hand-Balance. Swing the feet forward to get the nec- 
essary empetus, swing them back and up to a vertical position above 
the hcadjbending the arms slightly to assist in keeping the balance, 
also pressing the head well back between the shoulders. 

Fig. 32. Hand-Spring. Swing the legs uj), bend the arms, let the 
body turn nearly over and spring off the bars by pushing on the hands. 

Fig. 33, ;3.j. Slow Pull-Up. Place the wrists over the bars, raise 
the body slowly as high as possible, tiien turn the elbows out, change 
the grip and push the body up until the arms are straight. 

Fig. 34. Horizontal. Bring the head and sliouhlers forward so as 
to counter-balance the legs, holding the body parallel with the bars. 

FLYIXG-RIN^GS. 

Fig. 30. Extension. Draw up to the chin, hold one ring at arms 
length, the other close to the body. Change to the other arm and 
repeat. If strong enough spread b(^th arms horizontally. 

Fig. 37, 38. Swinging exercises. Increases the force of the swing by 
drawing up the arms when ascending a*nd straightening them when 
decending. Draw the legs over the head when at the end of the swing, 



HORIZONTAL AND PARALtfiL BARS. 




PARAI.I^EL KAU^ AM) ILVINCJ IMN'CJS 




^ fLYlNQ-SlNQS. 



passing them back at the otlier end, by shootingthem quickly, straiglit 
out. 

Fig. 39, 40. Swing and Snap-Up. Swing as before until asuffieient 
force has been gained, then at the end of the swing, snap-up the same 
as on the horizontal or parallel bars. 

VAULTING-HORSE. 

Fig. 41, 42. Leg-Springs. Jump on U\e horse with the hands on 
the pommels; bring tlie legs to the kneeling position. Give a good 
spring, throw the arms up, alight on the ground on the opposite side. 

Fig. 43. Leg-Change. Support the weight of the body on the arms. 
Change the legs simultaneously, drawing one back and passing the 
other forward. 

Fig. 44. SnddJe-Vnulting. Sit behind the pommels, bear the 
weight on the arms, throw the legs up, give a twist, describe a semi- 
circle with the legs, turning around facing the other way. 

Fig. 45. Vaulting through the hands. Take a short run, place 
the hands on ti:e pommels, pass the legs through the hands, shoot them 
out in front, si)ring forward and alight on the other side. 

Fig. 40. Vaulting outside the hands. Tliis movement is similar 
to the last. The spring should be greater and care should be taken to 
let go the pommels at the proper time. 

Fig. 47. Balance. Draw the body over one elbow near the stomach, 
raise the other hand holding it straight out over the head, assume a 
horizontal position. 

Fig. 4S. The Koll-Over. Stand with the back to the horse, bend 
backwards grasp the pommels, lift the feet and bring the legs over the 
liead, roll over on to the feet on the other side. 

Fig. 40, no, Long-Vault. Take a run and spring on the horse 
V aulting clear over it. If convenient use a spring-board. 

Fig. 51. Hand- Balance. Swing up with the legs straight and arms 
slightly bent. Finish with a hang-spring otf. 

FLYING-TRAPEZE. 

Fig. 52. Hanging by the toes. Spread the legs, turn the toes out 
and catch the ropes by the feet. 

Fig. 53. Leg-Swing. Throw the legs over the bar; get a good 
swing, hold tightly with the knees until you reach the other bar, then 
let go the legs and swing oif on the other bar. 



VALLTINCi HORSE 




FLYING TRAPEZE. 




TUMBLINC* 




^^ FLYING-TRAPEZE. 

Fig. 54. Leg-Fly. Get a swing as before, let go the legs, stretch 
tlie arms, turning as shown by the dotted lines, catch the other bar 
and swing off. 

Fig. 55. Flying-Jump. From a good swing, dijaw up the arms, let 
go and catch the other bar. Jerking the body well forw?fid, at the 
same time pulling well up and letting go the first bar, and springing 
to the second. 

Fig. 56.. Flying-Somersault. Get a good swing; the higlier the 
better ; draw the legs up, throw the arms and head back, and chest out, 
let go, turn a somersault lighting on the feet, on the floor or mattress. 

Fig. 57. Ilalf-Turn-Leap. As in Fig. 55, get a good start on the 
swing, when opposite the stationary bar, give the head and shoulders 
a good twist at the same time pulling up on the arms; let go, make a 
half turn and catch the other bar. 



TUMBLING OR SOMERSAULT THROWING. 

^''ig. 1, 2. Leg Exercise. Hold one foot tightly in the hand and hop 
over it with the other leg. This teaches how to gather the body close 
in jumping, which is important in tumbling. 

Fig. 3. How to begin. Get a strong leather belt, with an eye in 
each side, into each of which splice a few feet of strong cord or rope. 
Buckle it around the waist, get a strong companion on each side to 
hold it and practice each movement until thoroughly mastered, before 
attempting to do without it. 

Fig. 4, 5, 6. The Snap-Up. Lie on your back with the arms above 
the head. Raise to position in Fig, 4, throw back on the shoulders, 
bringing the legs over the head and the hands to the ground, then 
make a quick spring from the hands and shoulders, throw the body for- 
wards and bring the legs quickly down and under the body. 

Fig, 7. Hand-Spring. Take a short run, getting a good spring, 
throw yourself on to the hands, bring the legs quickly over and spring 
off the hands on to the feet again. Ati the moment the hands leave 
the ground, throw them and the head and body forward. 

Fig 8, 9. Forward Somersault. Jump up and throw the head for- 
ward, desribe a circle with the legs and alight on the feet. This is 
greatly assisted by the movement of the arms, which should give 
the momentum to the body by throwing them smartly around and 
suddenly stopping them by catching the hands on the thighs or knees 
as in Fig. 9. 



SWIMMING. 




ilg.o 



YisL. 10 



Yls.i^ 




TUMBLING OR SOMERSAULT THROWING. 

Fig. 11, 12. The Flip-flap or Baclv Hand-Spring. Bend down, jerk 
the head and arms back, bend tlie npper part of the Wie body back- 
wards, pitch over onthehands,drawiiigthelegsupwardsoverthehead, 
then spring from tlie liands over on to tlie feet. 

Fig. 14, 15. Backward-Somersault. Throw up the arms at the 
same time taking a good jump, throw the head back, let the feet go right 
over the head, catch the thighs as in Fig. 9, turn completely over and 
alight on the feet. 



SWIMMING. 



Swimming is one of the most enjoyable as well as useful of all 
athletic exercises, and one of the easiest to learn. Tlie only requistes 
being water and confidence. As to place, a sloping sandy shore without 
tide or current, in a secluded spot, is fully as good as a fashionable 
bathing place. 

Fig. 1, 2, 3. The movement of the arms. Walk into the water until 
it is almost as high as the chin. From the position of Fig. 1, pass the 
hands to the front ,as in Fig. 2, thefingersstiff and pressed together, the 
thumb held tightly against the fore-finger. Hold the hands together, 
the thumbs touching the palms, downwards, and the backs upwards. 
Spread tlie arms, turn the palms slightly outwards, bringing the hands 
towards the hips with a steady regular sweep. 

Fig. 4, 6. The Stroke. Lean gently forward in the water, give a 
little push with the feet and draw them up, pass the hands to the front, 
make the stroke with arms, at the same time spreading the legs and 
pushing them back, thus propelling the body forward. When the legs 
have reached their full extent, press them together firmly, keeping 
them quite straight and the toes pointed. When the body begins to 
sink, draw them up and take another stroke. 

Fig. 5. Treading. Keep the body perpendicular, and make ex- 
actly the same stroke with the legs as in swimming on the chest. 

Fig. 7. Swimming with a preserver. Make a bag of cloth, fill it 



SWIMMING. i(j.j 



with eorks or chips, tieit secuCy unduv the an... Tl.on pvactice the 
movements as directed. fn^iM-nimk and 

™' r o::,- i^d «t>.„.e. m >..,.„, ... st™,. the pv,„,,,.,. 

hand diin.ing i"to it when . ''« „^ ' '^f '^.fj,"; „ " „„ tue che.t. 

s:a:;L:;;a;:^:c;':rs:;ursu^^ 

as it can go. . • if i..,,wi nt the 

Ficr 10 Floating. Lie on the back, legs stra.gh , • '^^\f. T- 

• Fie 13 Divin-. Take a short run and leap lunul tir.t into the 

wat^r^'jiuhel^ands over the head, keep the body qude stitt with 

the arms and legs in a straight line. 



uo 



ATHLETIC SPORTS. 



Athletic Spokts, iiiuler whicli designation we class feats of 
pedestrianisni and of hurling heavy weights, but not oarsmanship or 
proficiency in pastimes, were popular pursuits at schools many years 
before they were taken up by the Universities, or before athletic clubs 
were formed among adults. Highland games use to be performed at 
the Annual Caledonian Meetings, and to some extent the programme 
adopted at these gatherings formed tlie basis of the listof feats practised 
in school athletics, Avith thechief exception of Tossing the Caber, afeat 
which is essentially Caledonian. It will be seen, therefore, that some 
remarks and suggestions on this subject are especially in i)lace in a 
work designed for young men. 

The usual programme of an athleti sports contest runs very mucli as 
follows:— Short distance race; longdistance ditto; one or more races 
at intermediate distances ; a hurdle race ; high jump and broad jump, 
with sometimes a pole jump; putting the shot; and throwing the 
hammer or throwing the base-ball. This last now seldom finds place 
in programmes among adult athletes. The usual sprint distance is 
100 yards. A mile race is most common and sometimes there is also 
a two or three mile race, and a steeplechase m addition, as a still 
father test of stamina. A quarter-mile or eco yards, and half-mile race 
will also be often found, for the benefit of those who can combine speed 
with a certain amount of stamina. Sometimes there is also a walking 
race. 

SPRINTING. 

Under this head are classed races which do not exceed 440 yards. 
In order to prepare himself for a hundred yards race (irrespective of the 
training, of which we shall treat generally in due course), the candi- 
date cannot do better then begin by steady walking exercise, at a 
medium rate of three and three-quarter miles to four miles an hour, of 
about five miles in the day, to harden his muscles. He may run about 
200 yards twice during his walk, but should only run briskly, not 
violeutly ; while he is "soft" it is a great mistake to put any undue 



ATHLETIC SPORTS. 



Ul 



strain on the ligaments of the body. As he becomes firmer in 
muscle, he may reduce the distance which he runs, and cover it more 
rapidly, until he can run the actual 100 yards at top speed. Still, 
it is wise not to run the course every day at his very best ; the squeez- 
ing the last ounce out of the powers of the body too often tells a. 
tale, even in so short a spin. If he runs the distance within two or 
three yards of his best powers this will do for two days out of three. 
Every third day he may see what he can really do-, and try for him- 
self whereabouts in the course he best makes his one principal 
rush. A 600 yards race is not often run at a homogeneous pace; 
there is some space which the runner covers at greater speed tlian 
any other. The runner should practice starts, which are all im- 
portant In a short spin. He should stand thus: one foot (left for 
choice), about its own length and three inches more in front of its 
fellow, the body upright, and all the weight on the hinder foot. 

QUARTER-MILE RACE. 

This is about the severest course which can be run ; it requires 
both pace and stamina. The competitor should practise walking 
exercise in the same way as for sliorter distance preparations, but 
he should run the racing distance only once a day, and not run the 
full distance at first; 250 yards will do to begin with, and this he 
can increase as he gets fitter till he reaches full distance. He should 
not run himself quite out more than twice a week, and should not 
do the whole course at full pace within three or four days of liis 
race; during the last day or two starts of 50 yards, and spins of 120. 
will suffice to keep him in trim. For a half-mile he should prepare 
himself in much the same way, but should double the preparatory 
and practice distances, beginning at 500 yards early in training. 

MILE RACING. 

For this more preparatory walking exercise is wanted, and the 
mile should be run daily at first, but to commence with, the pace 
should be little more than a jog, at about two-thirds of the runner's 
real powers. The speed may be increased as practice progresses, 
but the full distance should not be run out to the last gasp more 
than once a week, and not at all within four or five days, or even a 
week, of the race. The same for two miles, only that a still longer 



ATHLETIC SPORTS. 

rest is needed between the last trial at full speed and the day of the 
race. 

HURDLE RACING. 

This class of race is too much reduced to a sort of *' sleight-of- 
toe" among grown athletes. The distance and jumps are usually 
uniform— 120 yards and ten flights of hurdles, three feet six inches 
high, and ten yards apart. The runner practises his step for these, 
and would be quite thrown out if the distance between the flights 
or their height were suddenly varied unknown to him. With grow- 
ing boys there is less likelihood of the science of taking the hurdles 
in the stride becoming so studied, for their stride and strength are 
daily varying with growth. Adults usually do the "three step'' 
movement, which has superseded the "four step." They "buck" 
the hurdles, trotting over them and not jumping them, lighting on 
the opposite foot from that on which they took oft", and going on 
thence in their stride. Older boys may adopt the same step with 
advantage; mere lads will not have stride enough to cover the dis- 
tance between the hurdles in three steps; they will be forced to run 
and jump, instead of "bucking." The best thing that they can 
practise is to alight after each jump on one foot only, and to step 
on with the next, taking ofi' for the new stride with the foot on 
which they land. To learn this " bucking" step the runner should 
commence with low hurdles the regulation distance apart, and hav- 
ing acquired the step both as to take otf, landing, and continuation 
of the stride, then increase the height until he can do the trick over 
full-sized obstacles. He can lower the hurdles by sloping them. 
He may prepare himself as to exercise in the same way as for 100 
yards racing, and similarly practice starts. 

For a steeplechase the runner should combine the jumping prac- 
tice of hurdle-racing with the preparation for long-distance running. 

JUMPING. 

This is a feat which has greatly progressed with practice of 
late years. A quarter of a centurj' ago any oi:e who could jump 
five feet was looked upon as a wonder; and four feet eight inches 
often won a college or public school competition. Now those who 
have a speciality for it practice it so much that they soon add a foot 
or two to their range. The competitor requires to get himself as 



ATHLETIC SPORTS. -^^ 

light as he can, and to avoid all heavy work with arms and back 
which may develop muscle where not wanted for jumping. The 
less lumber he carries the higher he will jump. He should practice 
daily, but never tire himself. The amount of run he takes to a high 
jump is very much a matter of taste, but a dozen steps usuall}^ suf- 
fice. To time the "take oti" is the great art, and the distance for 
taking oti" should be half the height of the jump, in front of the 
bar. The legs should be tucked well up, and the whole body thrown 
forward with just sufficient force to clear the bar, but all the rest 
of the power should be expended on the upward spring. 

Two upright deals, with nails driven in, and holes bored to admit 
pegs, half an inch apart, with a light cross-bar laid on them, are all 
the apparatus needed for practice; the height jumped should be 
measured, and a piece of paper may be laid down to mark the take 
off, until the eye gets used to the distance. The starting off and 
landing should both be from the toes. 

In wide jumping the best practice is to cut a gutter in the turf, 
whence to take ofi. Twenty paces suffice for the run. The chief 
study, apart from development of the power of spring, is to so time 
the step from the beginning of the run that the last stride before the 
spring may finish close on the edge of the take ofi', without any 
necessity for shortening the stride to make it fit, else impetus is 
wasted. 

POLE JUMPING. 

The pole jump of athletes is different from practical pole jump- 
ing. In the former the athlete quits the pole and throws it 
from him as he completes his spring, and so adds to his impetus; 
in the latter, crossing a country, the pole is retained, and dropped 
over the obstacle with the jump. A 12-foot pole, of ash (or pine for 
A light-weight), shod with iron spikes, is the usual implement. 
It should be held with palms facing each other, one hand above 
the other. That hand should be uppermost which is on the opposite 
side to the foot from which the pupil chiefly takes his spring — ^. e. 
the foot which last leaves the ground. The lower hand should be 
about the height of the obstacle: this teaches the pupil to lift his 
whole body as high as his hands on each spring. The pole should 
be held straight in front, and In a high jump on the rise the feet 



ATHLETIC SPORTS. 
«J.4 

should be thrown lo the outside, the whole weight on the hands, 
back and shoulders stiff, so as to admit of the body being like a bar 
of iron, and horizontal as it passes over the bar. As the pupil pro- 
gresses he will be able to elevate his whole body higher than his 
his hands at the moment he clears the bar. A good jumper will 
clear more than the hight of his pole. Swinging his whole body 
over, supported on his hands, and then springing with the hands 
off the pole as he quits it, he will clear his arms of the bar. In 
wide jumping (especially at a dyke, in the manner in vogue in cross- 
ing the fens), great care is necessary to keep the pole straight in the 
line of spring, else, if the jump is to one side there is a risk of a 
fall in the water. So long as the pole is straight in front the body 
rises for the first half of the jump, and when it has reached its great- 
est elevation, its own weight takes it over; but if the pole stands to 
right or left the full elevation is lost, and so is the final swing of 
descent which bears the body to the further shore. The feet should 
be carried well in front in the broad jump, not swung round as in 
clearing a height. 

THROWING THE HAMMER. 

This sport is Caledonian in origin. The regulation hammer is 
161bs., and handle three feet six inches long; but boys require a 
lighter one. The most effective way of throwing is to swing the 
liammer round the body twice, the arms fully extended, and with a 
run, swaying the whole body with it in the last half-turn, then let. 
ting it go. The requisites are:— 1. To let go in the right direction ; 
2. Not to lift the head of the liammer higher than the hands in the 
swing; 3. To time the step to the take off. It is a dangerous feat 
to be practiced by a tyro within range of spectators; he may let the 
hammer go at the wrong moment, and in the wrong direction. Seven 
feet is the regulation run. Plenty of dumbbell exercise helps to 
harden the muscles of the arms, shoulders and neck for this feat, 
and for the next one mentioned. 

PUTTING THE SHOT. 

Sixteen pounds is the full-size shot for this feat, but young boys 
require a lighter one. The regulation run is seven feet, and the 
feet should not pass the "scratch " at or after delivery. The " put" 



ATHLETIC SPORTS. -^^ 

must be with one hand (the right, as we presume the student to be 
right-handed). The left may be used to adjust the shot in the palnv 
of the right; it may steady the sliot there till the moment of de. 
livery, and then must quit it. The putter stands on his toes, left for- 
ward, and takes a rise or two on his toes to get up swing; then he 
steps off with his right, and takes two hops on his left leg; on land- 
ing from the second hop he strides on with his right, and delivers 
the shot just as his right foot comes down. Then he must stop his 
body and not cross the line, else it is " no put," though it counts as 
a "try." 

THROWING THE BASE BALL 

Hardly a schoolboy is unable to throw, yet the strongest arm is 
not always the most propelling for a throw. The secret of throwing 
is to keep shoulder, elbow and wrist joints all loose when the arm 
is drawn back ; then to hurl out the arm, to let all three joints 
straighten simultaneously, and to let the missile quit the grasp at 
that juncture. If any one joint straightens before the other, or the 
delivery is not timed to coincide with the triple straightening, power 
is lost. A run adds impetus to the throw. 

TOSSING THE CABER. 

This is essentially Scottish, and seldom, if ever, finds its way 
into American athletics. Nevertheless, a description of it is neces- 
sary to complete the series of feats. The '* caber '' is a spar, or rather 
beam (a young tree), heavier at one end than the other. It is held 
perpendicularly, small end downwards, and balanced in the hands 
against the chest; then with a run the athlete "tosses" it, so as to 
make it fall on the big end and turn over. The " caber " is usually 
so big at first that no one can toss it clean over. If all fail, then a 
bit is sawn off, and another round is tried by competition, and so 
on until some one turns it clean over, so that the small end lies away 
from the direction whence it came. If more than one tosses it 
over, the otraightest fall and fartherest toss wins. 

HARE AND HOUNDS. 

This, or what is called a •' Paper Chase," is an old-standing 
school recreation, which lias at last developed into a sort of athletic 
sport — i. e., the competitors train for it, run against Father Time as 



116 



ATHLETIC SPORTS. 



well as against each other, and are just as keen to ^beat each other 
in the run home, and even more so, than to catch the "hares;" in 
fact, the object of this game ratlier plays second fiddle among the 
hounds. Metropolitan and other athletic clubs have taken up the 
pursuit, as well as public schools. Formerly the fun of a " paper 
chase " was to explore new country for each hunt ; but when rivalry 
of records of " time" began to establish itself, standard courses be- 
came more popular, and the interest of finding the way over a new 
line became subservient to that of competing against the best re- 
corded pace of former performers over old lines of country. The 
sport is now nothing more or less than a steeple-chase on foot be- 
tween the hounds. 

In running a course of this sort, no " hound " can expect to take 
his fences in his stride, or to jump the majority of them at all. 
They are not made-up fences, such as are found on a regulation 
steeple-chase course of artificial creation, but are the hona-fide land- 
marks of enclosures, and would often prove too much for even a 
good hunter, unless the rider carefully picked a weak spot. The 
best costume is a sailoi's guernsey, which leaves the arms free to 
play, keeps the body warm, and at the same lime ventilates it; be- 
low, flannel trousers, the ankles and calves of them tucked into 
stout worsted stockings, gartered outside. Tiiis protects the legs 
against thorns better than mere stockings below knickerbockers, 
and the thorns in a hedge that has to be pierced through are no joke. 
Spiked shoes are better avoided ; the}' are well enough on a running 
path or on turf, but over sticky ploughs they carry mud to the soles 
and impede the runner. The best shoe is a brown leather or leather 
and canvas "rowing" shoe, or what would be a lawn tennis shoe 
but for having a leather vice an India rubber sole. The runner does 
not want to run on his toes, but nearly flat-footed all the way. 
Judgment of pace is, next to training, the most important requisite 
and this the runner can learn only by experience. The most dis- 
tressing part of the run is often the early part of it, when first wind 
has gone and second wind has not come again With second wind 
a good-plucked one strides along merrily. -The pack should keep 
together, if only to hit ofi" the "scent" at checks, during the early 
part of the run; if they want to run jealous, the last mile or two, 
when they have rounded in sight of home, is plenty of time to begin 



ATHLETIC SPOKTS. y.- 

to race for the honor of pride of phice. The "scent" is paper torn 
small, and strewn by the hares as they go. It is carried in canvas 
bags, and to ensure a pace one of the two hares can run a section of 
a circle, while the other cuts the arc and meets him at the end of 
the curve; then the one who has been husbanding his powers can 
take up the pace, while his colleague in a like manner cuts across 
to meet him. 

Long runs, steady exercise, careful diet, and especially early 
hours of bedtime, are requisite to prepare for a severe Hare and 
Hounds match. The best " sprinter " is often nowhere at the end 
of a mile or two of heavy ground in a run of this sort, and nothing 
but pluck and stamina combined bring the leaders to their places 
of honor at the finish. 

WALKING. 

Boys seldom have walking races. The gait of a walking race 
is ungainly, and is more exhausting than a run of greater speed. 
The walker ties himself down to an action of limb which abandons 
all spring and impetus. In a run he flies through the air between 
the touch of alternate feet on the ground, and takes off with a 
spring from a bent knee. In a walk he must progress " heel and 
toe." The heel must touch the ground first, and one foot must al- 
ways be on the ground, else the gait becomes a run. The knee 
must always be straight when the foot is put down and taken up. 
The chief art in walking is to " twist the hips." By twisting them 
at each step the stride is lengthened, and the leg carried forward by 
the swing of the loins, to the relief of the ordinary muscles which 
extend the leg. 

DRESS. 

With the exception of Hare and Hounds, for which we have 
already specified the most suitable dress, the costume to be recom- 
mended for athletic racing is as follows:— "Zephyr " jersey and 
cashmere "drawers" (which are, in fact, loose easy trousers cut 
short just above the knee-cap). They should be loose enough to 
allow the knee to bend freely, and not to hamper the extention of 
the leg in the stride. No braces, but a buckle to support them. 
They fit better round the waist if the top is worked in a waistband 
of itself, with two buttons, and a buckle to adjust the girth. A short 



^.- ATHLETIC SPORTS. 

sock, barely reaching to the ankle-joint, elastic, of knitted wool 
The shoe should be easy, no heel, the sole well covering the foot, 
and spiked. The spikes should be thin and sharp, so as to give a 
good footing, and yet not to stick in the path. No spike in the heel 
is best, and live spikes in the toes. In all short-distance running, 
the runner moves only upon his toes. The shoe should lace close 
round the instep, but should not pinch in any way. The athlete 
should keep well clothed in flannel wraps till the moment he is 
wanted to go to the post. On a chilly day it will greatly improve 
the play of his muscles if he can get some friendly attendant to 
stand behind him and chafe his calves to the last moment allowed. 
In ordinary practice thf runner may with advantage wear a 
woolen woven guernsey ovef his jersey, which he can peel oflf when 
he wants to run against time. He will find it convenient to have 
a pocket worked in the breast of his guernsey for his handkerchief, 
so as to be independent of his coat pocket, while taking his train- 
ing runs. When he is only taking walking exercise, his flannel 
coal will not be out of place. It should be borne in mind that flan- 
nel is the attire for all violent exercise ; that the body should never 
be allowed to chill afterwards; and that it should be well rubbed 
down, until the skin is clean and dry, before every-day attire is 
resumed. 

WHAT TO ATTEMPT. 

Each athlete has some strongest point. Many do not know what 
their best feat is. A man may run quarter-miles for ages, and be 
only second rate at them, and suddenly find that he is really first- 
class at a mile. The pupil cannot too soon find out where his forte 
lies, and devote himself only to that. Also, in his special distance, 
he should ascertain by trials against the clock, and finally trial 
horses, where to make his chief effort— beginning, middle or end 
of the course. No boy should attempt severe feats of endurance if 
his family are constitutionally delicate— at all events, until he has 
been examined and passed sound by a doctor. Nor if he feels pal- 
pitation of the heart, or coughs after a run, should he persevere in 
training himself for running. 



BOXING CLOVES. 




We would call special attention to those interested in the 
manly art of self-detensc, to our superior line of Boxing 
Gloves. We have arranged with the leading American 
manufacturers of these goods to make for us an extra qual- 
ity of gloves, out of the very hest material, and on the latest 
improved patterns. Contracting as Ave do, in very large 
quantities, we are enabled tootferour customers these su- 
perior gloves at comparatively low prices, and can recom- 
mend them as superior to any oiher glove on the market. 

Each g^love will bear our trade-mark to insure its^enuineness, and 
will be known as "Spalding's Trade-marked Boxing Gloves."" 

miOK lilST. 

Per Set of 

Four GloYe*. 

No. I©. Boyt' tlie, well stuffed, and tan colored palms $a Jo 

No. i(. Men's sire, tame as No. lo 3 «> 

No. so. Men's size, well stuffed and extra tan leather, palms 

and wrists bound with fancy leather 4 oo 

No. »K. Men's size, same as No. ao; heel padded 4 5® 

No. 30. '• " same as No. »o; fin«r quality 4 5° 

No. 35. Same as No. 30; heel padded........-.......— .—.- 5 «> 

No. 38. Fine Quality, strongly sewed and full padded, and 

stronaf tan leather palms 5 *> 

No. 40. Superior Quality, same as No. 38, only finer made < 50 

No. 45. Same as No, 40; heel padded 000 

No. to. Kid Glove, with tan-colored leather palm 5 00 

No. «. Kid Glove, with best buckskin palms 00 

No. 60. Finest Kid Gloves, with ventilated palm 7 <» 

No. 6k. Same as No. 60; heel padded 7 S** 

No. 70. Chandler's Pro essional Kid Glove, for sparmgr sparr- 
ing exhibitions, beinp^ small and compactly stuffed 7 CO 
No. So. Graham's Safety Glove, the best practice glove made, 

with padded lingers and ribbed center, ; 7 5° 

No. 85. Graham's Safety Glove, same as No So,, with addi- 

tionalheel pad..,, ^^ 



i»rDOi.A.ra- cxlixt^s. 




PALDIHq, 




CLUBS 



Made to 
Exact Size 
and Weight 



In introducinor our new Trade-marked Indian Clubs, we would call 
special attention to the perfect shape, beautiful ebony finish, and correct 
weijfht of e-JLch club. We select the very choicest timber for these 
dubs, turn them by hand, and work each club down to the exact troy 
weig-ht, and this care in making, t()<,'-ettier with the beautiful ebony fin- 
ish, hig-hly polished, and banded in .efold, with nickel-plated heads, 
makes them the most beautiful and desirable Indian Clubs ever placed 
upon the market. We purpose keeping- these clubs up to the very hig-h- 
est grade, and to protect ourselves and customers against cheap imiUi- 
tions, our trade-mark will be stamped on each club, as represented in 
the above cut. The following- very low prijes will make these clubs 
very popular. 

Prices of Spalding's Trjade- marked Indian Clubs. 



Weight. 

6 lbs... 

7 " ... 
S *' ... 



'er Pair. 
$3 oo 

3 SO 

4 oo 

5 oo 



Weight. Per Pair. 

1 lb ."51 25 

2 lbs 150 

3 " 2 00 

4 " 2 25 

A. G. SPALDING & BROS., 

241 Broadway, 108 Madison Street, 

NE-W YORK. CHICAGO. 



WHITE MAPLE INDIAN CLUBS. 

Greatly reduced prices on our first and second quality Indian Clubs. 

Our first quality Indian Cluhs are made of clear, hard maple, after the 
Benedict model, lathe polished, and first-class in every respect. Ihese 
clubs are all turned by hand, and finished up in the natural color of the 
wood, with an ebonized band around the body of the club, and also eb- 
oni/ed knob, mounted with a large nickel-plated head. 

Our second quality are made the same shape as the first quality, but 

of timber which is not suitable for the first quality clubs, and have some 

checks and knots. Thev have a varnish finish, and compare favorably 

with what other dealers will sell as a first ^nality <_lub.^^^^^^^ ^^^^^ ^^^^^^^ 

Indian Clubs, Clutis. 
rerPair. Per Pair. 

Wfght. Jo j^ $0 SO 

• ^ .... . OO 60 

2 IhS ,25 So 

I !! \v.v:'^'.'.'.'.\'.'.'..'.'. .... 175 ' 00 

4 ,. 2 00 I 10 

5 u ::::::::;;:::::" ^25 1 20 

^ ., 2 75 1 35 

I :::..":::::. v.v.v. 300 150 

^ 3 25 



3 75 



wboDiEN DUMB BELIiS, 

Polished maple of our own manufacture, 
i/j pound each per pair ^ 50 

K :: :: :: ::::::::::::::::::::::: 60 

; .. .. " :::::::::::::::::: 75 

^ ,, n « I 00 

3 ., „ .. '.'.'.'.'.'.'............. 125 

These Wooden Dumb Bells are especially adapted for Ladies' Schools 
and Kindergartens. 

IRON DUMB BELLS. 

Any weight from 3 lbs. to kx) lbs., pur lb.; 6 cts. 

SWINGING RINGS. 

Made of three pieces of wood glued together, per pair $15 

Iron Swinging kings, leather covered, o inch, per pair. . . . . - . . . • • ; • J ^ 

-WANDS. 

Made of Black Walnut, per doz $3 00 

ENGLISH MODEL IRON QUOITS. 

4>4 inch, per^set of four ^ \\\''.\'^ 85 

S,, '.' ,, „ ... 100 

^'^ :: .< « •:::;:::::::;.;::::;: i^s 

^. G. SPALDmG & BROS,, 
241 Broadway, io8 Madison Street, 

NEW YORK. CHICAGO. 



Spalding's Trade Marked Base Balls. 





No. 1. Spalding's Official L ague Ball.— As adopted by tlie Per 

Aationiil Lca-uc and other proir.inc-nt professional and Each, Doz. 
amateur associations for 1SS5, each ball wrapped in tin 
foil and nut up in a separate box, and scaled in accord- 
ance with the latest I.caq-ue re:,rul.uions. . . $1 i;o Sii: 00 

No. lA. Spalding's AsEOciati 11 Ball, — Made in accordance 
with the specifications of tlie American Association, 
■h ball wrai)ped in tin f il and i)ut up in a separate 



caci 



box and sealed; \\ arranlc.l to last aful'l eamVw'uhmft 
nppinyf or losinsf its sh: 



idded this ^Tadt 



13 SO 



No, 2, Spalding's Professi nal Dead Ball, white.— The best 
dead ball made, covered witli selected horseliide. 
Every b ill warranted to last a game of nine innin'rs.. . i 25 12 00 

No. 3R. Spalding's Professional Dead Ball, red.— Same as 

No. 2, only colored red I 2? 12 CO 

No. 3. Spalding's Amateur Dead Ball, white.— Covered 
with horsehide, and especi illy adapted for practice 
g-ames. Every ball wrrranted i co 900 

No. 3B,. Spalding's Amateur Dead BrJl, red.— Same as 

>.o, 3, only colored red i 00 900 

No. XX. Spalding's Amateur Lively Ball, white.- Cov- 
ered with horsehide. '1 o meet tlie irrowin^- demand for 
a frood lively ball, at a medium price, we h ive this sca- 



00 9 00 



No. 4. Spalding's American Club Ball, white.- Covered 
with horsehide. Ag-ood Ser\ icealde ball, andcspeciiilly 
adapted for bovs' match cfames . , 75 y cq 

No. 5. Spalding's King of the Diamond B -11,' white. ' -Cov- 
ered with horsehide, rcy-ul.ition size and weight. A 
g-ood ball for catchinsr and throwing 50 5 00 

No. G. Spalding's Grand Duke Ball, white.— Covered with 

horsehide, r gulation size and weight 35 3 to 

No. 7. Spalding's Boys' Favorite, white.— Regulation size 

and weight. A good bovs' l-.all 25 250 

No. 8. Spalding's Eureka Ball, white— A tride under the 
regulation size and weight. The best cheap ball for 
the money on the market 20 200 

No. 9. Spalding's Rattler Ball, white.— SizV,"s^"inchcs"; 

weight, 4 1.< oz. Thcj best and largest loc. ball made... 10 i 00 

No. 11. Spalding's Nickel Ball.— Size, 714 in. ; weiirht, 3 oz. 
Packed one dozen in a box, half all red, half all v/hite. 
The best juvenile i;c. ballon the market c 50 

Spalding's Sample Case of Balls.— Containing one each of the above balls, 
packed in a handsome partition case, suitable for traveling salesmen 
or show windows. Special prices mt;de to dealers. 
Any of the above balls mailed postpaid upon receipt of price. 

Address, A. G. SPALDING & BROS., 
108 Madison St., CHICAGO. 24J Broadway, NEW YORK. 



SPALDING'S TRADE-MARKED BATS. 

These cclcl)rated hats were first introduced in 1S77, and theyhave 
frraduallv Lmnvn into popularity, until now they are used almost 
exclusively by all prominent professional and amateur players. 
All the timber used in these bats is allowed to season from one to 
two vears in the sun before being made up,and the result is we are 
enab-ied to make much h^hier and stronger bats than where the Umber 
is hastily "kiln-dried." as done by nearly all manufacturers of fW 
goods. Whbatis turned by hand, after the most approved and 
y.aried models, and if found to answer the r^q""-^'"^ "J?, ,^^/° 
weiffht si7e. lencrth,etc. the //Y/.f^-wmrX: is stamped on ca ch b.at to 
Se i'trjenuinenesr. We point with nuich pri cTe to the handsome 
testimonies given these bats'bv the leading batters of the country, 
as shown by their universal and continued use. 

PRICES. 

SPALDING'S TRADE MARKED BATS. ^^ ^^^^^ 

Each. Per doz. 
No. 00. Spalding's 2d Growth Ash, Bl.ack Rand 

League Uat, Patent Granulated Ilan- 

(pe 7SC »5 o 

•• o. Spalding-s 2d Growth Ash, Black Band, 

Leairue Bat, Plain Handle 75c 7 50 

.. ,. Spalding's Trade Marked Ash Bat . 40c 4 00 

.4 V ' .. "^ «. " Cherry Bat.. 40c 400 

„ ;• .< <' " Haes " .. 30c 3 SO 

., ^- « " •< Willow " .. t;oc 500 

u ti, ." Boy's " " Ash " .. 30c 300 

.. !j[;; .. .' .. « I5;iss •« .. 25c 2 50 

" SPALDING'S TRADE MARKED FANCY BATS. 

No. A. Spalding's Fancy Ash, Full Polished. .^ 6oc $^00 

'''■^* Patent Granulated Handle 75^ J So 

'• n. Spakling's Fancy Bass. Full Polished^.^ 60C 600 

''*'■ Patent Granulated Handle 75^ ^ So 

PLAIN FINISHED BATS. 
No. 6. M-'^Asli^I^^ts,plaintinish.,6to4oin.. 25c $. g 

.. h: Boy's Ash " " 28 to 34 in.. 15c « 5° 

" 9. " Bass " " 2Sto34'n-- 'S^ ' So 

FANCY BATS. 

No. 10. CherryBats.oiled selected timber 2g $2 g 

.. I,. Ash Bats, one-half polished.. .30c 3"^ 



Bass Bats, one-half jwlished 30c 3 ^ 

^^^ ^^^^ 50c 500 

Asli BaVs,' wound handles, plain Soc S 00 



Ash l^ats.fvill polished. _;-;;_;,_ " goo 



Bass Bats', full polished. 
" 15. Ash Bats, wound handle 

No 16 Bliss Bats, wou4m1 handles, plain ....... „ ^ 

"• 7 Ash Bats, wound handU-B, highly , ol.shed 6oc ^00 

«« 8 Bass Bats, wound handles, highly polished ^oc ouu 

L.c express charges by sending money with order, that we may send 

by freight. ^ ^^ SFJIMNG & BROS,, 

_ ,_^,^ 108 Madison Street, 

241 Broadway, ^„T/-Ann 



NEW YORK. CHICAGO. 



*00T BALLS. 




RUGBY AND ENGLISH ASSOCN. BALLS OF OUR OWN IMPORTATION. 

Rug^hy or oval shape and Association or round Foot Kails are n-.ade 
of the best India Rubber Bladder and outside leather case. Warranted 
to stand any climate, and outlast three or more ordinary balls. 

No. ^. 23 inches in circumference, Ruirby or Association each, $3 50 

No. 4. 24 inches in circumference, Rug^by or Association " 4 60 

No. 5. 27 inches in circumferedce.Riiyfby or Association " 500 

No. 6. 30 inches in circiunference, Ruy^b'y or Association " 6 OG 

No. 7. 33 inches in circumference, Ru^by or Association " 7 00 



PRICES FOR BLADDERS ONLY. 



Nos. 3 4 

Each, $1 \o $1 75 

Foot Hall Air Puinps 

The Entrhsh Rui^bv Foot Ball Rules 



$2 00 



$z 25 



$2 so 

.each, $6 00 
. " 25 



THE AMERICAN FOOT BALL. 




The Association or American 
Foot Ball is made of heavy can- 
vas, thorou{2^hly saturated with 

rubber, strong' and durable. 

Each. 
Xo. I. 20 in. in circumference $1 25 
No. 2. 22 in. in circiunference I S'- 
No. 3. 24 in. in circumference 
No. 4. 26 in. in circumference 



No. 5. 2,8 in. in circumference 
N0..6. 3oiii. in circumference 
No. 7. ^^ in. in circumference 



1 75 

2 00 

2 25 
2 56 
2 75 

RUGBY FOOT BALL— BOOK 
OF RULES. 

By mail 15 cents. 

^. G. SPALDiMG & BROS,, 
241 Broadway, io8 Madison Street. 

NEW YORK. CHICAGO. 



The pnBumatic pai'Ioi' l^oWing Machine. 

IMITATES ROWING PERFECTLY. 

Stroke hard at the beginnine, easy at the finish, recovery unassisted. 

Tatented June I, l^^O, and June 21, 1S81. 




Rovvini? is admitted by all authorities to be the most beneficial of 
all exercises, because it calls iuto play every muscle in the body, and 
gives to each one a lull and equal share of work. 

Many rowing machines have been invented to supply this exercise 
at home, during the i)art of the year uhen it is impracticable to use 
a boat, but they have all failed to'imitate rowing. 

The Pneumatic Parlor Rowing-Machine 

IS GUARANTEED TO GIVE AN ABSOLUTELY PERFECT IMITATION 
OF ROWING. 

The oars turn so as to allow of feathering. Adjustable to any 
strength. 

The machine will be sent to any part of the world (at the expense 
of the purchaser) on receipt of the price. 

Price of Machine complete,. « «15 OO 

A. G. SPALDING & BROS., 

241 Broadway, NEW YORK. 108 Madison St., CHIC AGO. 



THE "O.K/' WALL MACHINE 




The accompanying cut represents the O. K. Exercising 
Apparatus, which embraces every essential movement for 
Physical culture. It is light and neat in appearance, easily 
put up, noiseless in action, and not liable to get out of 
order, and occupies very little space. Price, $5.00. 



THE "0. K." ROWING MACHINE. 

The O.K. Exercising Apparatus, with Rowing Attach- 
ments. As a means of exercise, it is the most pleasing and 
beneficial of any yet devised. It is the best substitute for 
rowing of any machine in the market. Price complete, $10. 



Heallli Eierclsli Elastic Sltias Air-Bai 




There can be no question whatever, but that the Isest results of 
exercise can nowhere be secured in such perfection as in a perfectly 
appointed Gymnasium under a competent and thorough teacher. At 
the same tirne it has been demonstrated beyond all question, that any 
man, woman or child, may secure in the home, in the office, or in the 
shop, bv means of a simple and inexpensive device, results that vie 
closely "with the highest success of the gymnasium. The accompany- 
ing illustration closely illustrates the exercise which may be secured 
by the use of the Elastic Striking Air-Bag, combining as it does, in 
the most simple form, all of the advantages which may be derived 
from the use of dumb bells, Indian clubs, ropes and rings, rowing 
machines, pulley weights, and even the boxing glove itself. 
I=2SICE E.ii^CH, $©.00. 



PALDINQB 



Athietic Sports 

ATHIjETIC series.— The aim of the various manuals or hand books consti- 
tuting our Athletic Series will be to educate the readers in each particular game or 
sport in which they mav be interested. A long experience in sporting matters 
induces a belief that tJiorough descriptions, accompanied by the necessary illus- 
trations, will enable those who, by force of circumstances are deprived of the op- 
portunity of obtaining practical instruction or accurate knowledge, to become pro- 
ficient without such instruction. 

Each. 
No. 1. SPAIiDINQ'S OFFICIAL BASIS BALL GUIDE.- The standard 
authority on Base Ball, and only complete Base Ball Guide pub- 
lished. Contains official playing rules, and records of all cham- 
pionship games, the championship records of the Northwestern 
League, Eastern League, Union Association and College Associa- 
tion $ 10 

No. 2. SPALDING'S OFFICIAL LEAGUE BOOK.— Containing the only 
official averages and League matter, as furnished by the Secretiiry 

of National League lo 

No. 3. SPALDING'S ILLUSTRATED HAND BOOK OF PITCHING 
AND FIELDING.— A work containing instructive chapters on all 
the latest points of playing in Base Ball Pitching, including curve 
pitching, special delivery, strategv, head work, speed, throwing, 
balking, etc., with new rules for pitching and fielding, and catch- 
ing the hall 25 

No. 4. SPALDING'S ILLUSTRATED HAND BOOK OF BATTING 
AND BASE RUNNING.— Containing special chapters and illus- 
trations on scientific batting, position, placing the ball, sacrifice 
hitting, home run-~, base hits, new batting rules, the art of nmning 

the bases, ttc. The only book of the kind published 35 

No. 7. SPALDING'S ILLUSTRATED FOOT BALL RULES AND 
REFEREES' BOOK.— Authorized and adojjted by the American 

Inter-colleiriate Ass<)ciati(m 10 

No. 8. SPALDING'S LA-WN TENNIS MANUAL.— (Illustrated ) Con- 
taining full instructions in the popular game of Lawn Tennis. 
Illustrated articles for beginners, and the new rules of the National 

Lawn Tennis Association , 10 

No. 9. SPALDING'S MANUAL OF ROLLER SKATING.— Containing 
over fifty illustrations, showing each movement, and has more in- 
formation on the subject than all other books combined, including 
a list of 200 combination figures, rink rules, programme for skating 

contests. Polo rules, etc 25 

No. 10. SPALDING'S OFFICIAL CROQUET MANUAL.— Containing a 
history of the game, with full instructions for proper and scientific 
use of the hall and mallet, as practiced by skilled players; also the 
"American Rules of Loose and Tight Croquet," as adopted by the 

National Croquet Congress. Fully illustrated 10 

No. 1 1 . SPALDING'S MANUAL OF BOXING, INDIAN CLUB SWTNQ- 
ING, AND MANLY SPORTS.— The most practical instruction 
book ever published; contains over 250 illustrations on Boxing, 
Wrestling, Fencing, Club Swinging, Dumb Bell and Gymnastic 

Exercises, Athletic Sports, Swimming, etc 25 

No. 13. SPALDING'S HAND BOOK OF SPORTING RULES AND 
TRAINING,— We have collected together the rules of all sports 
practiced in the civilized portions of the world which are published, 

together with articles on the various methods of traming 25 

No. 14. PRACTICAL GYMNASTICS "WITHOUT A TEACHER.— For 
the school -room, the play ground, and the individual. Prof. War- 
man, the author, has been eminently successful in all parts of the 
country in teaching his most valuable of all systems of physical 
training for the symmetrical develop nent of the" body. Thislittle 
manual is the result of his j'ears of experience 50 

A. 6. SPALDING & BROS., U!? TT" ^'"^^w ''^nl°;r 

' > 241 Broadway, NEW YORK. 



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